MFA Thesis Exhibition
April 12 - 29, 2012
Tisch and Koppelman Galleries
An MFA Thesis Exhibition of nine artists in the joint
graduate degree program of Tufts University and the School
of the Museum of Fine Arts, Boston opens April 12th at the
Tufts University Art Gallery and runs through April 29th.
This is the second of three MFA Thesis Exhibitions presented
by Tufts as part of an annual series. The artists will each
be present at the opening and will speak about their work.
The nine artists' new work represented in this exhibition
encompasses representational painting, painted Plexiglas reliefs,
graphite drawing, experimental film, and varied approaches to
About the artists:
Eunice Yoon-Seon Choi
Eunice Choi's painting series, entitled Parallel Universe, despicts a fantasy
world that is an inverse reflection of reality. In this fictional universe, Choi
explores several unique interpretations of a post-apocalyptic environment. The
amusing and disturbing qualities of these paintings spark a dialogue about
nature and man-made culture, and thereby question the tension between the
beautiful and the grotesque.
Eunice Yoon-Seon Choi, Potentiality (Detail),
2012, oil on canvas, 80 x 80 in.
Sammy Chong's recent body of work focuses on notions of social, physical, and
spiritual disengagement in public spaces. Train stations, shopping malls, and
street corners connote forms of solitude, linked to the everexpanding
conglomeration of modern society. By layering painted sections of seemingly
banal scenes in oils and acrylics on plexiglas sheets, Chong invites the viewer
to gain awareness of the meditative nature of being both immersed and removed
from the activity around us.
Sammy Chong, Laundromat, 2011, acrylic
and oil on Plexiglass, 19 x 22 x 9 in.
(Photo credit: S. Chong)
Amy Mae Flaherty
Amy Flaherty bares striking resemblance to her mother who died in 2006. In
reenactments of original family photos, Flaherty manipulates the single vantage
point of the camera lens through detailed sets to produce imitations of her
mother's pictures. The resulting images fade into translucency in which
comparable attributes appear simultaneously familiar and foreign. Failure of the
reproductions to become more than fractured versions of the originals transforms
Flaherty into a ghost who wears her mother's clothing.
Amy Mae Flaherty, Baby Brother III, 2011,
hand painted baby cut out, performance.
Heidi Hogden's MFA Thesis exhibition, 42.88°N, -88.01°W, consists of a series
of graphite drawings on paper that investigate the area around her home in
Franklin, Wisconsin. Through the process of drawing, Hogden revisits the
landscape of her childhood as it was, as it is and she imagines it to be. In
this work she interweaves notions of familiarity and distance with intimacy and
voyeurism to reconstruct memories.
Heidi Hogden, 08/21/2011 8:23 AM, 2011,
graphite on paper, 60 x 40 in.
Helena Hsieh examines her place in the complicated canon of representing women
throughout art history. She navigates this history through selfportraiture and
personal narratives to examine and preserve everyday moments. Hsieh presents
five paintings that depict a solitary woman in daily spaces. She romanticizes
these spaces by focusing on color, light and feeling. Her paintings embody her
desires, anxieties, fears and aspirations as a Chinese-American female artist.
Helena Hsieh, Repose, 2012, oil on canvas, 38 x 58 in.
Jee min Kim
The global citizen no longer stays in one place. They figure out how to adapt to new
cultures and processes, each dealing in their own ways. Jee min Kim's video
installation entitled "I" explores how her interpersonal experiences, and thus
her own identity, are constructed and structured through constant mediation of
media such as Skype, YouTube and Facebook. This social experience is not only
personal but also broadly applicable to others trying to understand themselves
in this moment in time.
Jee min Kim, I, 2011-2012, video installation,
seven 19 in. monitors.
In a series of paintings entitled Totemic (Ojibwe for "kin of womb"), Arhia Kohlmoos
conjures and then ritualistically exposes the talismans of a childhood with four
sisters in a oneroom log cabin. Kohlmoos' painted offerings rend and vivify the
boundary between public and private culture by animating her sisters' shared,
private origins with a resurrection of Renaissance portraiture and the obsessive
Arhia Kohlmoos, Lady with a Langur,
2011-2012, oil on panel, 16 x 12 in.
(Photo by Eunice Choi)
Time: how does one handle its fleeting nature? This question of time and its division
between scheduling and dedication force one to contemplate how we as individuals
control our time. A decision to hand-tape TV Guide listings from the past
several months on 13 x 19 inch panels resulted in enough material to cover the
walls and floor of an empty room. This process lead Rapin to address the
question of time by choosing an individual dedication for this specific moment.
The result is an installation where one becomes immersed in a vibrant pattern
constructed and created from the daily coding of these television listings.
Kate Rapin, New York Times TV Listings,
2011-2012, mixed media, 16 x 20 ft room installation.
Kimberly Ruth's What's Inside of You is an experimental, multi-channel film
adaptation of Raymond Carver's short story Gazebo, a story that was
harshly edited by Carver's then-editor, Gordon Lisch. The minimal quality of the
single shooting location, the dry use of language and the raw nature of the
handheld camera contrasts with the intimacy of the scene that positions the
viewer both as a character in the film and a voyeur removed by the
self-referentiality that exists within the film's structure.
Kimberly Ruth, What's Inside of You,
2012, multi-chanel HD video projection.
(Film still by Kimberly Ruth)