| Title | Date | Views | Brief Description |
|---|
| Palimpsest |
2014 |
2144 |
Change is constant. We constantly change ourselves. This personal “overwriting”
is similar to a tradition called palimpsest, which is the incomplete erasure of text from
books to make room for new text and ideas on the same surface. Here, I have em... |
| Artforher |
2015 |
1236 |
The work addresses the complexities of being a female artist in a gendered world and commentson the structures of power outside and within the male-dominated canon of art. Fueled bystatistics and studies on the inequalities within the press, gallerie... |
| The projected landscape |
2015 |
2012 |
Since the beginning of the industrial revolution, representations of the landscape have adapted to reflectchanging western ideas of the separation between human culture and the natural world. The photographs,projection and paintings in the Projected ... |
| - - - - - - - |
2016 |
874 |
Exemplifying the symbolic relationship of materials, form, and space, the works of the exhibition reveal metaphorical signifiers of racial and gender focused binaries while utilizing combinations of traditional and contemporary practice. Understandin... |
| Brutal world |
2016 |
946 |
History repeats itself. My large scale paintings and small ceramic sculptures embrace historical and fictional characters from past and present, powerful/powerless, good/evil, humorous and satiric. The paintings are executed with rough, quick strokes... |
| Biblical character analysis in painting |
2014 |
5990 |
My paintings are allegorical reflections of modernized narratives based on Biblical
stories and characters. The subject matter also comes from historical religious painting,
modern allegorical painting, and personal experiences gleaned from my own ... |
| Witnesser |
2017 |
767 |
This series of paintings and drawings attempts to navigate personal and pandemic tragedy via the depiction of trauma as a collective experience. Within my work, publically accessible images of oil spills, human induced wild-fires, decomposing mental ... |
| Hypostasis and the dynamic imagination |
2018 |
1053 |
How we know what we know is complex and multifaceted. In both the humanities and sciences there are instances where the objective and subjective overlap and sometimes merge. This is the terrain of my research. My thesis employs Gaston Bachelard’s phe... |
| It's my party and I'll cry |
2016 |
1012 |
It’s my party and I’ll cry is a party-like installation centered around ideas of celebration, home and feminine identity. The title, taken from the 1963 song ‘it’s my party’ is meant to be a play on words. The work of this thesis exhibition intends t... |
| Leisure time for everyone |
2012 |
1755 |
The social function of recording devices provides the subject of my thesis, and
takes form in an installation titled Leisure Time for Everyone. The art work consists of
four projected videos and one non-projected work shown on a vintage television ... |
| Lives matter |
2017 |
510 |
My studio practice investigates “Blackness” -- a term that provides both a positive and negative identity. “Blackness” is a reflection not only of the black community, but also of the entire world. My studio research includes crime statistics, inform... |
| Real tools, realspace |
2017 |
1034 |
The body of work—works on paper, photographic paper, plastic, wood, canvas (plus curated audio)—created for this thesis explores technology, using both analog and digital tools and a conceptual process of deconstruction to return to work initially do... |
| My titles are always in pencil : projects in the absurd |
2015 |
5296 |
The Absurd, in terms of existentialist philosophy, is born out of the conflictbetween the human tendency to seek inherent value and meaning in life and the inabilityto find any (Absurdism). Through my work, I examine the conflict of the individual’sr... |
| The visual rhetoric of narrative |
2019 |
916 |
In her essay “On Narrativity in the Visual Field: A Psychoanalytic View of Velázquez’s Las Meninas,” Efrat Biberman asks: “Does narrativity by definition contradict visuality, and if so, why is it so prevalent in the context of painting?” (Narrative ... |