MFA Thesis Exhibition
May 3 - 20, 2012
A MFA Thesis Exhibition of six artists in the joint graduate
degree program of Tufts University and the School of the Museum of
Fine Arts, Boston opens May 3rd at the Tufts University Art Gallery
and runs through May 20. This is the third of three MFA thesis exhibitions
presented by Tufts as part of an annual series. The artists will
each be present and speak about their work starting at 5 pm on May 3.
About the artists:
Hye Sung An
Memories exist in unique space and time. Some fade, dissolve, overlap, and stand out. An
visualizes these characteristics of memories through her own experiences,
dreams, and emotions. Each individual panel becomes a frame that contains her
memories while the congregation of the panels creates a larger scene of these
Hye Sung An, A Room of Memories,
2012, oil on wood panels, various sizes.
Throughout life, we shape our minds, our bodies, and ourselves. Is this excruciating act
imposed upon us, self-imposed or freely and happily chosen? To what extent is
our image enforced by culture, social groups, and fashion?
What are we communicating by pursuing these alterations? Four paintings
depict feet binding, a tucked drag, a breast implant and a giraffe woman. The
viewers' image will also be included, reflected in black mirrors, as they
approach the installation -- we are all bound by trends and socio-cultural
influences. Beauty remains undefined.
Emilio Coyra, Giraffe Woman
(from the series Rigorous Corporeal Morphing), 2011, oil
on canvas, 24 x 24 in.
The piece is a fourteen feet square room. All four walls are painted with a forest scene
of surprised deer and trees lit by the headlights of an unseen vehicle. The
entire floor has been covered in green Astro-turf. Centered in the room is a six
feet cube. There is no entrance. It has been painted with found paint.
Centered on each wall of the clubhouse is a one foot square window. There
is a different scene lit from within visible in each of the windows. As the
viewer approaches the window the light inside dims to off, making it impossible
to get a good look at the scene inside. The room itself is lit by a single
Eszter Sápi explores the intersections of national myths, personal memory,
and gender and sexual identity, as refracted through the prism of immigrant
and queer experiences. In this body of work, Sápi engages in multiple translations
as she grapples with the contradictions of language: its power to forge connections
between people, as well as to alienate, and to mark as other. Acknowledging the
inadequacy and occasional impossibility of translation, the work embraces moments
of silence, discomfort, and exclusion.
Eszter Sápi, Mézes köcsög/Honey jug, 2012,
mixed media on found paper, 6 x 9 in.
Everything that once passed by will not come again, but neither will it pass away. The
memories Woo believes were most important and valuable in her life are
enshrined here in these paintings and sculptures. Each one of these one
hundred paintings represents a different name collected in her memory.
Each sculpture emerges from a painting, a name, serving as a metaphor for
a single person's life.
Jihye Woo, At the Moment,
2012, ink on rice paper, 10 x 10 in.
Heart of the Ocean is about Yang's transcontinental
immigration and internal migration between Taiwan, US and Germany. Working with
video installation, Yang questions if the geographical cyberspace erases the
colonial power and geopolitics. The situational and psychogeographical moving
process not only locates her viewers inside her personal diasporic experience
but also dislocates them in diasporic fantasies in cyberspace. The artificial
glitch in the video is destructive creativity that represents breaking through
Chun-Ya Yang, Unpeaceful Ocean, 2011, still shot
from single channel video installation