MFA THESIS EXHIBITIONS 2022
Our MFA Thesis graduate candidates are: Sarah Barnett, Jaime Durham, Autumn Hunnicutt, Seo Ryung Park, Siri Stensberg, and Meagan Marsh Pine. See info here in partnership with the Jordan Schnitzer Museum of Art WSU.
MFA THESIS EXHIBITIONS 2021
Our MFA class of 2021 graduate, Stephanie Broussard, is exhibiting work in-person and online. See the links below in partnership with the Jordan Schnitzer Museum of Art WSU
Stephanie Broussard’s work interprets and plays with perceptions of space utilizing the language of paint. Through a series of contrasting themes, she has constructed narrative paintings revolving around distance & closeness; interior & exterior; cityscape & landscape; spiritual & physical; presence & absence.
Traveling from many places to join the cohort at WSU, Broussard engaged in an intense two-year interdisciplinary studio program and met regularly with faculty members for group and individual critiques. Visiting artists and scholars provided diverse one-on-one insight into her creative work while the artist sharpened her confidence, convictions, and skills. Their MFA Thesis Exhibition is a focused conclusion, yet it also marks an exciting transition toward professional careers.
MFA Class of 2022:
The WSU Fine Arts MFA Program will extend to a three year program beginning the fall of 2021. Second-year MFA candidates currently enrolled in the program have been extended the opportunity to take advantage of this change and are showcased below in videos as a preview of what is to come for their 2022 MFA Thesis Exhibitions.
MFA THESIS EXHIBITIONS 2020
Our MFA class of 2020 is exhibiting exclusively online due to social distancing. Help us support our grads by viewing their exhibitions online!
See the links below in partnership with the Jordan Schnitzer Museum of Art WSU
The Ephemeral Nature of Memory
The Ephemeral Nature of Memory follows a concept in three stages: Stage I: Pure Memory, Stage II: Remained, and Stage III: There is No There. Each stage includes a body of work, which represents a stage of memory. The intention is for the viewer to look beyond the subject of the images, to the process, which reveals something altogether new in form and perception.
Polaroid photographs are central to each stage. Polaroid film evokes feelings of privacy, preciousness, nostalgia, and realization the image is unique and non-reproducible. Thus, evoking private memories and feelings.
The Quarks of Time Travel
I am stuck in a cycle of reliving moments of the past and longing for the times that once were. I both fear and appreciate the beauty in life’s impermanence. A constant loop within my psyche aids me in my travel to such places, though I will never truly be able to arrive. I must watch from a distance, experiencing the time travel without being able to interact with it directly.
Growing up in Malaysia, our culture and customs are significant areas of familial focus. It is important to not lose touch of who we are; the rite of passage to transfer knowledge is traditionally passed from one generation to the next. “Anak Dara” is a Malay term that translates to ‘a young and unmarried child.’ It is a term of endearment my mother often uses.
In this body of work, “Anak Dara” is an ode to the diaspora of leaving home and the journey to recover what was lost through materiality, performance, and the power of my mother’s voice.
Call of the Void
L’appel du vide is a French idiom that literally translates to “the call of the Void,” but more poetically describes intrusive thoughts related to one’s immediate surroundings—the presence of circumstances with mortal potential.
This body of work presents multiple thresholds that offer imaginary access to Void-like spaces, and bodily experiences of these spaces that are felt rather than lived. The paintings are not portals, as such, but invite the viewer to experience a thinning of the veil; brush up against the edge of the unknown, containing everything and nothing. The projection and entryway offer suggestions for what these undefined, liminal spaces may hold.
Microbiota: Evidence Of Symbiosis
In this work, I re-examine the long-existing relationship between humans and nature by focusing on our symbiotic connections through touches and their traces.
I use petri dishes as a tool to reveal the myriad micro and macro interactions, that we are continuously having with our surroundings. Therefore, I consider them an extension of what defines the contemporary human portrait.
“What is it to be human?”
In the juxtaposition of arts and sciences, this work highlights interdisciplinary and collaboration as key factors to blur the rigid boundaries separating scientific methodology and art aesthetics.
Courtesy of the Artist
I begin by creating space and making time for the participant; to slow down, to pause, to touch, to hold. I establish equity, a sense of balance, a sense of harmony. We have something in common, something shared, a point of exchange. The participant can engage my work in a tangible way; they may choose to take part visually, physically, or both. The viewer then becomes a translator and can inhabit the work.
Minimalism and repetition enable my work to be visually accessible. Blending the time-honored practice of ceramics with contemporary digital technology is the cornerstone of my practice.
You Can’t Hot Glue Your Cat Back Together
In 2015, we moved to Sonoma County. I was content to play in the dry creek bed for a time, but eventually, I longed to wander in the bay forest. I got lost. It was assumed that I had been trampled by wild pigs. And I was left behind.
I’ve been walking North ever since. I’m trying to get back to my home. I’m a very old tuxedo cat, now. And even if I reach my home, I know I can never return to the past I long for.
-Igor (whereabouts unknown)