2022 Senior Thesis Exhibition: Shift + Ground

杰克孔特雷拉斯
莉莉Fillwalk
克莱尔·曼宁
奥利维亚米
马克斯·欧泰克
茱莉亚·杜兰·斯图尔特
佐伊Storz

2022年4月28日至5月14日

@Nichols Gallery, Lenzner Family Art Gallery, Scott Hall, Academic Quad

杰克孔特雷拉斯让我让你走, 2022, plaster bandage, flowers, paint, and found objects.

让我让你走 is an altarpiece made from found artifacts serving as a personal and communal 疗愈 space. This sculpture depicts the grieving process on the body and cycles of discomfort, 疗愈, 放手. How can we unlearn the repressed and destructive coping mechanisms that we’ve inherited from our families?

莉莉FillwalkThrough the Eyes of the Crow, 2022, 10 digital inkjet prints, 16 x 20 in. each; speaker; video; artist book; silicone masks.

Using a multispecies approach I embody the crow with photography & 的表现 Through the Eyes of the Crow, exploring how the species might perceive fear and loss. Crows are associated with death and their diseased bodies hold important information about climate change. This work explores and questions the connections between fiction and science, as well as how mourning will be altered in a changing world.

克莱尔·曼宁无标题的, 2022, high fire stoneware, porcelain, digital inkjet prints.

This installation is the documentation of a meal I designed, 煮熟后上桌, making or sourcing everything as directly as I could. I designed the ceramic dinnerware specifically for plating the seasonal menu. I sourced goods from farms and vendors who support access to healthy food and give back to local marginalized communities. This project reflects my values and life practice which includes making ceramics, 烹饪, 园艺, and reducing my reliance on long production chains.

奥利维亚米, Picturing the Colonial Trace, 2022, framed digital prints, video, 投影, 木灰, late 19th-century carved sandalwood box from India.

我用摄影, 表演艺术, and installation to explore the interpersonal, 环境, and economic histories contained within familial heirlooms. My art centers on a sandalwood box, its perfumed oil, and a photograph from my family album. I reframe these objects in order to physically unlearn familial narratives of a benevolent British Empire. Through this exhibition, I work within the tensions and contradictions of my own relationship to constructions of whiteness and British imperialism that haunt my maternal lineage. 

 马克斯·欧泰克, Where Creeks Go to Die, 2022, Inkjet and Xerox prints, various sizes. 

Where Creeks go to Die is a photographic mapping project, documenting the current state of the San Antonio Creek and Dam. Beginning where the creek dries up — about a mile before the dam — I follow the natural path where the water once ran in search of portals and clues into a forgotten past. Through a process of abstracting the landscape, the boundaries between the natural and built environment become blurred. 

茱莉亚·杜兰·斯图尔特, Infestation: Shadows of The System, 2022, washable-paint prints, QR codes, wheatpaste.

This public installation serves to make visible the omnipresent pressure to consume and conform. Through the use of QR codes, the viewer is led to re-educational websites that serve to disrupt the hegemony of digital media. Seeping out of our screens, the infestation of capitalist ideology surrounds us. 

 佐伊Storz, the perilous body: an interruption, 2022, slideshow of scanned photographs, 11:11 min.; poetry; book printed on rice paper, 13 x 9.5 in.

the perilous body: an interruption is an installation of spoken poetry and projected photographs. My use of the broken film camera is a way to render chance, 不完美, and errors as a photographic language with haptic potential. 通过这种语言, I address the embodied experience of the feminine Asian American subject, and I particularly attend to alternatives to the functional camera’s (mis)perception of this figure.