CANDICE IVY
The subject of the installation, Murmur, is my grandmother,
the history that created who she became in her life. It is not only her personal history, but an entire way
of living inherited from the history of Southern culture, and established well before her time. By filming
her subtle movements and gestures, I try to understand the whole of this history through one individual. In
this installation, my great-grandmother's abandoned home, seen with time-lapse film, moves with the changing
light throughout the course of the day. The experience is further enhanced by familiar
sounds: conversations, the hum of the railroad, and birds.
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HUGUETTE DESPAULT MAY
With this body of work I explore the twin issues of dominance and vulnerability. I have chosen imagery of knotted
or twisted ropes to help me describe the felt but unarticulated visceral world of someone bound in the tension and
power struggle that are the inevitable outgrowth of overwhelmingly imbalanced relationships. I use strategies such
as distortion, exaggerated scale, a lexicon of marks, tones, and compositional placement to evoke the feelings of
unease while simultaneously enticing the viewer to linger with the sensual qualities of surface and medium.
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CHRISTOPHER MORGAN
My current artwork deals with the fundamental questions of existence, identity, and spiritual completeness. Rather
than just focusing on the positive aspects, I'm making an attempt to widen the spectrum of what spiritual practice
is, by acknowledging the role of frustrations, emotions, and delusions.
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GERALD ROJEK
My objective is to turn the formalist paradigm inside out so that decoration, texture, and plasticity
can be figuratively emphasized in an attempt to make viewers more self-aware of the differential between
self and object.
And so, I create paintings that come out of my historical interest in the struggle between
the figure/ground relationships and a unified paint field. The paintings relate to a popular, contemporary
vernacular through a tension of texture and surface. Whereas most late modernist works revel in discreteness via
a totalizing edge-based paint field, in my work I allow the figure to pull off the surface in an attempt to emphasize
the "brutality of fact." This phrase, used by the late painter Francis Bacon, points to the problem of overcoming
the illustration of the human body and offers the possibility of "bringing the figurative thing up onto the nervous
system." The duality forces the viewer into accepting the given physical qualities of the work while exploring
the "imaginary" space without cognition.
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KAREN SCHIFF
My large-scale rubbings of the floor and ceiling of the Tufts gallery space reveal the conditions
in which we look at art. The "white cube" — which began as an "empty" container — emerges
full of geometries, subtle markings and lines of sight. These images also invite viewers to take a fresh look at
the very space in which they stand.
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Current
| Upcoming | Archived
