Rocio Delaloye

We were connected to each other 24/7, and still so disconnected. The world we shared was silent, two-toned, and drab. Our words were clever and concise, but our real brilliance was still determined by a brightness setting.

Christopher Robbins

Creative destruction does not always operate literally; rather than change the object or phenomenon at hand, it can alter the focus, illuminating (or at least shedding new light on) unexpected elements. By changing perceptions about accepted ideas of an object, phenomenon, or culture, unseen constructs become visible.

the dutch boy with his finger in the dyke who has to pee

Evelyn Eastmond

Blob Painting

I’m getting sick of just drawing the blobs and am really excited to try to draw one on a large canvas and finally get back to painting. I start preparing one of my canvases with a color that I like; a yellow mixture. I layer it a few times, and then a few more times, until I get a yellow wash I really like.

Then, intuitively, I decide to take a picture of the large yellow canvas and load it on my iPad. Once it’s on my iPad, I draw practice blobs over that picture just like the ones I did on paper. I do this over and over, and in different colors, to get a color and shape that feels right. I finally do, a large pink blob, and I set off to translate it to the canvas.

The process is fun. Once I start translating the image, I realize that I can use the iPad to help me make sure I get the outline of the shape exactly like I want it. Since it now has become an exercise in execution, and the large size takes more of my energy, I finally start needing mental painting breaks. I play SpellTower obsessively in between painting sections of the pink blob. This trust in my shape, in my colors, and in slowing down in my process is all feeling great.

Evelyn Eastmond: Blob Painting

Francisco Ricardo

Certainly, the written thesis is intended to allow students to create a critical dimension, a robust vocabulary for the discourse of their creative voice. It would little help students to be masterful in creating work, if in turn they were unable to contextualize, distinguish, and/or defend it in relation to other works, artists, and histories. I consider this piece at least equal in importance to the actual artwork. For without a larger context, the artist would be subjected to the abilities and critical proficiency of an outsider, a critic, a collector, or a curator, rather than be able to augment and buttress that knowledge.

In other words, it is not to be used as a mere “description” of work, nor an open-ended, lengthier version of the artist’s statement. And the position is anchored in a serious scholarly statement. Of course, not everyone felt this way—to the detriment of what important critical armament we could give the students of this program, who, as pioneers in their own right, need friends of The New.

Janet Shih

spiritual, transparent, kawaii, dreams

spiritual, transparent, kawaii, dreams is a triptych of images taken from online communities (specifically Tumblr). It applies the images seen linearly on online platforms into a traditional composition, calling for the process of scanning and interpretation by the audience.

It attempts to combine our online perceptions into a representation of those images in our worldviews, asking: when does the offering become the deity?

Janet Shih: spiritual, transparent, kawaii, dreams

Lisa Morgan

The written thesis is approached as a generative force and resource that feeds into, clarifies and illuminates, or consciously confounds, the studio-based practice.

Laura Alesci

Laura Alesci: TLCI work with and within existing urban infrastructures, informa­tional systems and devices.Participating in and entering into dia­logue with systems that normally I am not a part of, I seek to make use of them beyond their established capacity. Through question­ing their function, I destabilize their position of authority and viewpoint within society and investigate the potential in changing their relationship to an individual.

In all my projects there is a need to formulate a reciprocal rec­ognition between systems and myself. My work process involves meeting these systems halfway, allowing for an exchange to occur between them and myself. Within this exchange there is potential for a new contract, relationship, or entity to emerge and develop within the framework of systems of authority and control.

Please Watch Over Me

Samuel Galison

1)
april fools

spring is like
nothing like
thunder like
inhaling

air itself
is slender
honestly
contagious

the surface
of daybreak
of an act
not yet formed

on the grass
edges of
breathtaking
ignorance

2)
“This page intentionally left blank.” — GRE practice test

I can’t help it: I love moments in which someone, somewhere, with the best of intentions, decides to explain the obvious.

3)
There’s magic in motion just barely visible. Even cats know it: a foot moving under a blanket is far more enticing prey than either foot or blanket alone (though mine is apparently too smart for that – she’ll just go under the blanket and attack the source directly). That’s the pleasure of mystery: the sight of tendons moving under the back of your hand as you clench your fist hints at a hidden structure and logic beneath the surface. Complex emotional stories lie in the tension and bulk of muscles, leaving visible traces in the stretch and twist of the skin above.

FOR A MOMENT

Clement Valla

Zhongbo Copies Google Earth’s View of Wassaic, NY Onto Twilight in the Wilderness, and Paints in the View from his Window

Zhongbo copies… is an oil painting ordered over the internet from the Wushipu “Chinese Painting Village” in Xiamen, China. It was commissioned for a show in Wassaic, NY. These “Chinese Painting Villages” are reported to produce over 60% of the world’s oil paintings, a majority of which are copies of famous paintings. Zhongbo copies… begins with a landscape painting by Frederic Church of the Hudson Valley. A contemporary image of Wassaic (in the Hudson Valley) from Google Earth is collaged onto Church’s painting. The artist in China was asked to paint the collaged image, and add in the view from her/his window in Xiamen. The resulting painting is a collage of geographical locations and representational media.

Clement Valla: Zhongbo Copies Google Earth’s View of Wassaic, Ny Onto Twilight in the Wilderness, and Paints in the View from his Window

Ebe Odonkor

For the initial thesis project, I have decided to collect personal stories from Ghanaian WWII veterans because I had been told snippets of my great-uncle’s WWII experience when I was a child, and thought they were heroic and interesting.

Moreover, WWII vets played a major role in the struggle that lead to Ghana’s independence from the British Empire. Not many Ghanaians know this fact. I thought their accounts of socio-political life during and after colonialism would be of great interest.

Armed with this bit of information and conviction, I traveled to Accra, the capital of Ghana, and started my search for WWII veterans. I have to confess that I was a little skeptical of finding any veterans to interview, considering the life expectancy of the region is 56.

I hit a bit of luck when I was informed that the previous government, under President Jerry John Rawlings, had housed most WWII vets at Amasaman, a suburb of Accra. After an hour’s drive through heavy traffic and on the newly constructed highway to Kumasi, my assistant and I arrived at the Legion Village, armed with sound recording devices and two camcorders.

We came unannounced, so we had to knock on a few doors and make our intentions known before settling down for an interview with the five remaining WWII veterans living in the village; most of them were living with their grandchildren. The first day (it took us three days to get every veteran on tape) of interviews seemed more rehearsed than the freestyle, ignore-the-recording-devices environment I had envisioned. But, by the second and third day we were comfortable enough with each other to let go and just converse.

UNFAMILIAR VOICES Social Collaboration as Collective Performance