MFA Exhibition 2020 Clear Room

My work focuses on the philosophical aspects of contemporary visual culture. My work explores machine vision and the ways in which it is constructed by the many forms of electronic eyes that scrutinize people’s lives. By creating a visual language that is performative and sculptural, my work expands the spectrum of machine vision and the human body.

liusangchi.myportfolio.com

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Satellite, 2019; Video, 3:43 minutes

Humans lighting up technology, the human touch being itself full of energy, light, chi - a manifestation of our potential. The interactive device connects to the future and forms a closed line with the possibilities of the future.

This is a dual virtual space. The combination with energy and electricity, spiritual and formal, historical and contemporary. Elegant, making the intangible tangible. A clean visual aesthetic rooted in a monochrome sensibility, allowing for subtlety and nuance.

As a student from Europe now studying in the United States, I am experienced in the art of Chinese ink painting, which relies upon the philosophy of opposition and harmony as well as the variability of how ink may flow from a brush. These works merged art and technology since both fields require experimentation as well as play with contrasting elements.

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Interaction, 2019; Touch sensor, diodes, fuse, resistance, wire (insulation removed), and batteries , 58 x 24 x 30 inches

My practice focuses on ideas about space as they relate to popular science, architecture, and urban, social and visual studies. I prefer using everyday materials. I intend to show how space is understood relationally, culturally and metaphorically, and to abide in a feeling of curiosity and wonderment in regards to such matters.

seramac.net

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Ever Expanding Universe, 2019; Latex balloons and museum putty, Dimensions variable

My paintings are in direct response to the landscape of climate catastrophe. I am enraptured by disaster, unable to look away. The landscape in pain is repulsive and seductive, mirroring our current ecological moral quagmire - the inability to stop our ravenous consumption despite knowing its consequences. My paintings resonate between utter indulgent ecstasy and sublime terror. Through painting I attempt to understand the violence brought upon the land and my own hand’s involvement.

KatrinaMagowan.com

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Looking West from Mt. Diablo; Oil on board, 48 x 60 inches

sha-ne-ne.art

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Untitled, 2019; 4” x 5” Ektar film printed on inkjet, 60 x 48 inches

My studies at SFAI inspired me to create “BENJO17mfg,” a fictitious business that embodies the dubious values and corporate shenanigans of modern mega-entities. BENJO exposes the substandard workmanship and contemptible business practices of careless companies, disarming them via dark satire, wry sarcasm, and tongue-in-cheek reverse engineering. With BENJO as a springboard, my focus has broadened to larger-scale, reduced-narrative works exploring the interface between disparate materials. Thank you, SFAI!

jeffmaylath.com

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Benjo Station, 2019; Sculpture, 17 x 24 x 24 inches

My work is autobiographical, yet the questions it suggests are deconstructed into a nuanced universal discourse, provoking larger discussions around race, identity politics, and our culture at-large. My practice explores the social and psychological construct of race and identity in contemporary American society. My multi-disciplinary practice moves through painting, drawing, sculpture, photography, and video. Specific work explores the politics of identity within the spaces around me, whether they be physical or psychological, societal or personal.

sharamays.com

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California Spring, Installation view, 2020; Oil on canvas, 288 x 60 inches

We are misrepresented/have no privacy/under gaze anyway, so live with it.

mengjiaozhang.com

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We Don't Speak the Same Language (Transparent Bird Cage), 2019; Archival pigment print, 36 x 28 inches

mareiwamiller.com

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Who Holds Whom?, 2019; Metal, medium, transfer image, textile, and spray paint, Dimensions variable

Image-making, people, and choices are my subjects. Oil paint is my tool.

Whistleblowers, heroes, life-savers, call them by any name you choose but remember this: they are just people like us. But are they? These individuals take a stand for a better tomorrow. They take action that makes a difference — they confront inequity, giving voice to the naive and abused. The recent painting’s title and subject asks the question, What Would You Do?

We live in a privileged country and society and we can choose and decide to act each and every day. Our climate is in danger, we are amid a pandemic that is predicted to return. Our lives seem important but are they more important than the collective? I am asking us to listen to our compassion and hope, to consider our actions and how we can leave the world better when we depart.

This is a scene of five individuals. Four were/are anti-Mafia and the fifth is a young boy - our today. Two were blown up by the Mafia (Judges Giovanni Falcone and Paolo Borsellino) and one by suicide due to Mafia fear (anti-Mafia witness Rita Atria) all on the left. The woman on the right is present-day journalist Marilu Mastrogiovanni who writes against terrorism of the Mafia amid constant death threats. The boy in the center is our future. They are protecting him. They knew the stakes and they paid the ultimate price. However, they made a significant impact on the future. Their actions have made the world a safer, kinder place.

They are tragic figures and they are hope. I paint for the best in humanity to work for those yet to come and I ask you given what is at stake, what would you do?

laurapacchini.com

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What Would You Do?, 2019-2020; Oil on canvas, 84 x 66 inches

computrxjamo.com

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Poetic Justice

How may we honor memory and release memory simultaneously? Concerned with the connections between memory, trauma and domestic spaces my work deifies tangible objects representative of the pain and joy contained in our ability to remember. My work is an entry point to vivid narratives strewn with a quiet urgency; a profound need to venerate the residue of the past. I work sculpturally with predominantly textile, glass, clay, metal, and stone, among a wide variety of other sculptural materials. Utilizing domestic spaces and familiar objects as points of entry, I interrogate the way place can stain us.

evanpettiglio.com

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i can only hold what i can reach, 2019; Textile, stone, wallpaper, handwritten notes, house key, and resin, 60 inches x variable

I create sculptural photographs that use either technology or traditional building/construction materials in juxtaposition to the photographic fine art print. There’s a continuous push and pull between where the two-dimensional begins and the three-dimensional space ends. I’m interested in exploring the line between sculpture and photography, as well as a conversation around what constitutes a photograph in today’s world where images are ubiquitous.

collinpollardphoto.com

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Everyday Colors, 2020; 30 x 24 inches

Hydrogen

It might be lonesome here

Out past the singularity

Were not you here beside me

To join me in the dance

And if we were not shining

Then nothing would be shining 

And nothing under heaven's gaze

Would ever have a chance

eleanorschnarr.com/

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Celestial Sphere 2: Nebular Blue, 2019; Oil on paper, 50 x 50 inches

Cinema always distorts perspective and gender is always performed. As a queer femme drag artist who uses film, performance and installation I rely on elaborate costuming, makeup, sets and narratives involving over the top tropes of femininity to produce luxurious fantasy on stage and screen. Dreamy, magical queer worlds are created with DIY strategies and analogue special effects using the elements of artifice not as a “mask” but as an exposure of truth.

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Fancy Phone Numbers, 2020; 16mm film

Both body and land are perpetually violated without due regard for their respective agencies. Through this interwoven relationship, I explore a form of understanding with the land, while also coming to terms with my particular positionality as a descendent of colonizers and loggers. In asking what it would take to fully recognize the debts my family owes, my work positions the land (and our relationship) as sites and participants in remembrance, rootedness, resistance, and resolve.

rebeccasexton.net

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Intangible Embrace, 2019; Douglas fir trunk, fragmented coastal redwood trunk, the artist’s body, photographic print on chiffon, 36 x 48 x 24 inches

shaoyan.art

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Moments #2, 2019; Archival inkjet print, 15 x 45 inches

My research and visual practices embody the multivalency of visibility and obstruction. Utilizing performance, video, sculpture, and sound I manifest personal traumas. Layers of traditionally gendered and unconventional uses for recognizable materials become the catalyst for creating abject works that cause both intrigue and repulsion. I position the witness in the middle of these installations leaving them to grapple with my body as I exhaust myself past my limit through durational action.

tshellart.com

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Camera 5-March 8th-1:31PM, 2020; Performance still

Searching for a connection with complex family histories and deciphering my challenging but inspiring Indian culture, I stumbled upon nostalgic associations with cotton, honeycombs, and pomegranates. These metaphorical symbols deal with the innocence of childhood, the complexity of a home, and issues of seduction and puberty. Oil on canvas is my preferred medium. Through gestural abstraction, I improvise a conceptual landscape, resulting in a percussion of allegorical layers.

annasidana.com

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Soft Landing, Sweet Innocence, and Forbidden; Oil on canvas, Installation dimensions: 72 x 180 inches; each panel: 72 x 60 inches

What is the logic of choreography and how can it be applied to marks on a page? In these works I am giving the body and time the same reverence, finding an actualized politics of space on the page. It is movement, it is impulse. It is reverence for the subtleties. It is listening.

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Choreographies for Iris