Jazmine Mclaurin

Meat Locker

Meat Locker serves as an extension of personal experiences with mental processes and examining internal struggle. The crude piece features the calamity of vital organic structure in a brash and openly violent spread, capturing the utter confusion and abrasion of the endless battle against chronic depression. For years, I’ve been obsessed with knowing if I had tried enough during my time, or if there is truly something more to how I act, socialize, and think. The work not only showcases an inside view of what I face with each passing hour, but it is meant to become a part of the audience, to see that these struggles are common. I am enthralled by the study of organic systems and bodily function, and how that may shape one’s personality and view. Using non-traditional materials and experimentation, this piece reignites the meaning of spontaneous progress and unplanned result. Meat Locker is inspired by characteristics of the presence of vital organs as well as giving another view of one’s personal experience.

Jake McNamara

Jake McNamara

CYBERBOND

Cyberbond (2020-2021) is a collection of works that showcases the ever changing emotions and circumstances surrounding my relationship with technology and its overuse and abuse during this pandemic. It follows me throughout my journey and entrapment in the digital realm, eventually leading to my various attempts to escape or cope with my newfound living conditions.

I am experimenting with intersecting my body within interfaces and being physically present within my own works. It is important to maintain this physical connection as I’ve been recently splitting my digital self over so many platforms due to the current circumstances of the world. As a product of the late 90s and a child of the net, I have grown accustomed to the rapid colonization of our digital utopia. I finally realize just how unrecognizable my world has become, how unrecognizable I’ve become. I’ve found myself stretched thin, trapped within the digital realm, a wandering cybernaut, looking for a now lost exit.  The works present in this show, much like myself, are ensnared in this world. As such, the sizes and dimensions of these works will vary depending upon the hardware and software used to view them.

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Amalya Singleton

occhiolism

amalya singleton

my thesis is about self.

environment and I,

people and she,

my piano and me,

my chosen mediums of 

photography and media

 are how I outwardly express feelings

 that feel too foreign to show on my person. 

this body of work represents the feelings space, place, & 

people evoke in moments where I’m fully present.

an inwardly explored, outward portrayal. 

I create from a place far removed.

a first person and omni-present experience that allows me to be present and in space.

spacey yet aware

I have been reteaching myself 

feelings that I refuse to feel,

distance that I refuse to close,

relationships that I keep at a distance,

my work acts as a mirror.

a space I occupy with others.

a moment that I choose to share.

an action I choose to do.

a memory documented.

Benjamin Wilson

BENJAMIN WILSON

“Some think me a devil, some a lunatic, some an inspired patriot.”

-Charles J. Guiteau

The intent of this series is to explore the rare but deeply impactful phenomena of American Presidential Assassinations, through the lens of painting, drawing, and mixed media work. My occupation with said subject is rooted in my belief that these events perfectly encapsulate the deeply destructive synthesis of American idealism and American tendencies toward violence. Woven throughout these stories I have found themes of idolatry, loss, and the all-too American conception that somehow murder is a solution. Through use of multiple mediums and treatments of form and figure I seek to visually convey the complications of morality and perspective that are so present in this subject. I have also made frequent use of appropriation and adaptation in this series in an attempt to reference and also subvert the historical use of images used.

Images and videos may be clicked to enlarge, feel free to view the accompanying film at any time, or let it play as you scroll

Leon Czolgosz is shooting William McKinley in Buffalo

McKinley’s body slumps, bleeding to the floor as Czolgosz is set upon by the crowd

The President’s body is in the ground now, as several sketches and paintings are done of the event and an “x” is drawn at the point in the floor where the shooting took place and Czolgosz’s body is in the ground now, having been executed at Auburn Prison by way of the electric chair, a device designed by a dentist

The use of the electric chair has been made possible by research funded by Thomas Edison

Hundreds of stray dogs have been electrocuted in the process of experimentation 

Less than a year after McKinley is murdered and Czolgosz is murdered, the Edison Manufacturing Company produces a short film reenacting Czolgosz’s execution

What makes something an execution and not just a murder? What makes something an assassination and not just a murder?

 

Charles Guiteau Awaits Trial, 2021, Oil, Acrylic, and Photo Transfer on Canvas, 51" x 63"

Charles Guiteau is finding another hole in his shoe

Charles Guiteau is then getting said shoes shined with money he doesn’t have

Charles Guiteau’s brain is in a jar in Philadelphia and his skeleton is in a drawer in Baltimore

Untitled (Oswald with Rifle), 2021, Acrylic and Photo Transfer on Canvas, 18"x24"
Last Week of Mr. J. Wilkes Booth, 2021, Acrylic, Gouache, and Photo Transfer on Cardboard, 15"x23"

Lee Harvey Oswald is assembling and disassembling his rifle over and over again, sitting on his porch in his underwear

 

Untitled (Guiteau with Brimmed Hat), 2021, Acrylic on Canvas, 8"x8"
Charles Guiteau in Court, 2021, Acrylic and Photo Transfer on Canvas, 5"x7"

Guiteau is borrowing fifteen dollars from a relative and purchasing a revolver with the express intention of killing James Garfield, he elects to buy one with an ivory handle as opposed to a wood one “on account it would look better in a museum”

The gun is exhibited briefly in the Smithsonian museum, but eventually displaced and never found

The train station where Guiteau shoots Garfield is now the National Gallery of Art

The Assassination of Lee Harvey Oswald, 2020, Graphite on Paper, 11"x14"
The Final Hours of Guiteau/Garfield, Ink on Paper, 11"x14"
Four John Wilkes Booths, 2021, Acrylic, Oil, and Photo Transfer on Canvas, 18"x24"

Decades after John Wilkes Booth has died, a house painter known to drunkenly quote Shakespeare poisons himself

He leaves behind a note claiming to be John Wilkes Booth, saying that he has evaded capture for forty years

His mummified body tours America in a sideshow

A Softer, Simpler Time & Place

A Softer Simpler Time and Place (Oswald and Kennedy), 2021, Oil and Photo Transfer on Canvas, 8"x10"

Jiaqi Wu

Jiaqi Wu

Booklet: Afternoons

 Exploring the Healing Element of Light and Nature 

I have always found the view outside my window attractive. I translated my thoughts about the current events surrounding quarantine into a series of scenery drawings. During this period of isolation, I developed my first thesis study for my undergraduate exhibition. As an artist I wanted to draw the most memorable moment of my day so that people who saw my drawings could feel the warmth and comfort I felt.

Quarantine time often makes people feel anxious, that is why I want to do something to help people feel better. I suffered with it myself for a period of time, during quarantine . Eventually, I noticed that when I spend time in nature and sunlight it makes me feel safe and confident. When the afternoon sunlight pours in through my window and shines on the wooden floor, with shadows of trees and leaves, me in a way similar to meditating. Through this realization, I was able to achieve a level of self healing. It helped me to get through the situation. In my drawings, I wanted my viewers to feel the same warmth and tranquility. I wanted  the audience to feel the comfort that I get when I look outside your window. 

I returned to my pictures, looking for elements that could help people feel calm. It turned out that natural lighting and views from outside my window played a big part in those pleasing scenes. I realized that natural elements from outside the home are important to people who spend prolonged periods indoors. The landscapes from outside the home dictates what we see from inside our homes. I would like to study the consequences of building a landscape, and how it could impact people’s feelings. So, my drawings are a study of those elements and the recreation of those scenes and how they  heal people. I want my art to be helpful to people. I am interested in the exploration of “Healing art”. Pastel is what I am using. The soft edges and dreamy quality could be a support for archiving my goal. 

 

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Carina Banfitch

Resonance

Carina Banfitch

Resonance is a collection of process based video and digital paintings. My inspiration comes from nature and psychedelic experiences which I consider sources for mental healing. The sources for a lot of the original paintings were photographs I took of fungi in woods near where I live as well as other natural formations such as snow, ice formations and wasp nests. I made abstract watercolor paintings based on these photographs and digitally collaged them with the original photographs to make kaleidoscopic images. From there I imported the images into an AI program where the AI created its own images. I then stitched the images together to make moving images. 

I thought a lot about how mushrooms are made of threads which they use to communicate. I connected that to the fiber optic threads that make digital communication possible. This led me to thinking about the parallels between human and fungi communication and how communication of experiences can heal. My paintings were all made while under the influence of lysergic acid diethylamide (LSD), or based on visual experiences while on psilocybin mushrooms, LSD and dimethyltryptamine (DMT). I have found that these experiences opened my mind to better communicate  not only with others, but more importantly, myself. 

Introspection can be hard when we live in a  world filled with constant outward stimulation. When viewing my own art, I feel relaxed, entranced, like everything will be alright. Embracing the compositional simplicity of centrality and symmetry, my works center the meditative qualities of making and pleasures of viewing. 

Gianni Branciforte

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Elizabeth Calderone

Elizabeth Calderone

A House is a Body, a Body is a House

The concept of home is very complex to me. After living through years of emotional abuse by my mother and being rescued by my father, I am now living alone for the first time and am thinking a lot about this idea. I am slowly coming to terms with the thought that home can be myself; my own body, even if some days I don’t want to be alive.

But this series of work isn’t about all that bad past junk. It is about how, every day, I am trying to be better. Some days are a lot harder than others, and I don’t have the motivation to leave my bed, but at least I have a cat who loves me dearly. I also have a wonderful support system that I am deeply grateful for.

Every day this body of a home stands a little taller. 

Digital Photography. 2021.

Nina Gabriel

Nina Gabriel

"Little Psyche"

Paintings

^Click to Go to Collages^

About

A standard stuffed animal is soft, cute, and perfect for comforting a child, but they also are vessels for our imagination and feelings. They are one of the first things in the world we human beings project upon. We name them, give them genders and personalities. Through the storylines we create for stuffed toys when we play we establish our own fears, desires, and things we like and don’t like. A human’s identity and view of the world starts to unfold. “ Little Psyche” takes this concept of seeing through stuffed animals and makes the play echo darker and complex human behaviors like toxic relationships, abuse, and manipulation. The five paintings featured play with symbolism and body language of the figures to explore these themes in an imaginative way a child’s mind might try to capture them. The show also has a side series “visual notes” too. Each painting has a “sister collage” that works as an X-ray and dissection of the story in the painting. Like the paintings these collages utilize kitschy and childlike imagery to further the narrative.