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MFA Thesis Exhibition
April 6–April 22, 2007
Tisch and Koppelman Galleries


This exhibition is the second of an ongoing series of MFA thesis exhibitions shown annually at the Tufts University Art Gallery as part of the joint graduate degree program of Tufts University and the School of the Museum of Fine Arts, Boston.

About the artists:

lucy beecher

“-stability is undermined.  Historically, painted portraiture has asserted the identity of the sitter; however no essential truth can be achieved beyond paint.  A painting, like a name, presents a façade, a veil, behind which there can be no essence. Clothing, like loose canvas, is also an impermanent adornment.  The painting defies a structured boundary; it resists an anchored adherence to supposition.   Each figure in the painting shares a fundamental tool of identification, the name Lucy.  The name is deferred across the bodies that fill the painted surface. Each grasps it yet none saturates it or is saturated by it.  The tools that allow us to consume another person, the words that situate them, render these sitters beyond what is knowable.  The work un-names them through the ethical act of painting."

lucy (detail), 2007, oil on unstretched canvas

  beecher

scott cartwright

"The Bullet Train Research Library Project is a supermodern reconfiguration of Cedric Price's 1964 Potteries Thinkbelt, a proposed modern machine for education. Modernist Issues that are announced in Price's proposal are updated in the BTRL project in a time of a re-return to only the aesthetics of modernism, where only certain components of this machine are polished and positioned away from their original context. The BTRL project is left fragmented, and open ended so as to create multiplicity in a project that could never be 'finished'."

View of Multiplicity Stations in East Boston, 2006, CAD drawing
  cartwright

franÇois-xavier de costerd

“Passager Momentané”
"My video installation explores the urban landscape’s hypnotic rhythm and constantly shifting space. Carefully observed images of the built environment include constructed moments of awe, wonder and contemplation, as well as hints of uncertain dread and violence. My camera guides this neo-flaneur ride around and through the urban cityscape. My images create a kaleidoscopic journey of momentary amnesia, where the schizophrenic noise of our media environment weaves the fabric of the rider’s psychic experience."

Power Plume I (detail), 2007, photograph

  decosterd  

emily diehl

"I am currently working on a group of paintings that depict modernist interiors and buildings. Some of the paintings are of buildings or places that are specific, and in other cases they are of images that are taken out of context and altered.  Parts of the paintings remain abstract and reference color field or hard-edge painting, which refers to both my suspicion for depicting illusion and the relationship between the painting and the image it represents.  More importantly however, the paintings attempt to address the current state of the discussion about utopian and modernist concerns of developing a better future and a more efficient world."



Untitled, 2006, oil on canvas

  diehl  

thomas doran

"My regular insistence is that the work progress with restraint, in order that it might be allowed to realize its potential to inhabit and to speak within a space. Straightforward, pared-down materials are supported, stacked, piled, painted and crumpled so that they may become vocal in their own modes. These specific objects exhibit or imply their own particular response to gravity, light and wind. These specific objects retain their old familiarity without eclipsing possibility. They divide space, occupy ground and declare themselves open or closed to approach. Simple indexical ideas, illustrations of space and reiterations of phenomena combine with these three-dimensional objects to exert a peculiar pressure on the spaces they occupy. In these objects there is a small cosmology of forces: sensual, intellectual, political, linguistic, geographical, our recent history in art as well as my own autobiographical inclinations which advance and retreat throughout the body of work."

Regenbogen, 2006, digital c-print
  doran  


kyna jones

“I look for accidental art, finding beauty where it was never meant to be, celebrating the simplicity of a gesture that meant nothing at all, made by someone who’s name will never be known. I am looking for a different way to make a photograph, a way to translate my personal experience with a space - to make a record of another kind of truth.”



Untitled (4), black and white photograph
  jones,k.  

sara jones

"In this project, I am examining my relationship with a family house in Memphis, Tennessee, thereby challenging my capacity to remember it completely, and relying on photographs to assist me. The act of painting has allowed me to introduce forces of my choosing, which reflect the decay and deterioration that is inevitable for both the structure of the house and the structure of my memories."


Sally's Room, eight months from now, 2007, oil on panel
  jones,s.  

justin life

“In my drawing I imagine an internal projection of my body and others during the last moment of consciousness.  This event is a conglomeration of military, religious and natural disasters.   Anonymous beings explode and implode, there is no distinction between viewers and participants or inner and outer world.  I project myself into this moment and create a narrative that show the body’s disintegration and joining with its surroundings.  I use the mural format to heighten the visual impact of the piece and create a body-to-body reaction with the viewer.”

Dec 7 2060 6:30AM (Mural Study) [detail], 2006, ink on paper

  life  

dawit petros

Ultima Thule
"This project links my travels to the austere and remote landscapes of Churchill, Canada and Badwater Basin in Death Valley, California with the glacial topography of Mount Kilimanjaro in Tanzania, Africa. The work takes multiple forms; a reflecting pool, video installation, photographs, text and a wall painting. These objects consider the space between form, location and language. By displacing space (through multiple visual forms, mirroring, mixing and interaction of elements), these objects reconfigure received notions of fixity and periphery."

Proposition 1: Sign, Churchill River, Hudson Bay, 2007, c-print
  petros  

keiTh sullivan

"This work is an attempt to embody, reconfigure, and re-present a small sample of the constituent voices that converse in my autobiographical narrative. Recent historical texts are sited, and reconstituted through the utilization of indeterminate processes, in an effort to unsettle the fixing tendencies produced through modes of language. This gesture recognizes the limited originality of the performative self, and the insufficiency of representation, in light of our capacity for self-knowledge."

Dasein, 2007, 3-channel video installation
  sullivan  

benjamin tiven

"This installation maps an architectural proposal from 1784 (the Cenotaph for Isaac Newton by Etienne Louis Boullée) onto the lives of the 20th century mathematician André Weil and his sister Simone, a philosopher and political activist. Boullée’s cenotaph proposal was a huge, spherical, outdoor planetarium illuminated by sunlight. This installation reworks that idea into two adjoining rooms, one housing a video projection about the two siblings, the other a planetarium whose stars are illuminated by the light from the video."


The Implication Arrow #4 (Hotel Alexandre), 2007, c-print
  tiven