Q: Didn’t you all just have a show? Technically, two shows…each?
A: You aren’t wrong. We’re just fulfilling a predetermined requirement that predates us on the calendar.
Q: That’s a glib way of approaching this.
A: Only if you conflate transparency with a lack of investment, which isn’t what’s happening here. Did you have an actual question?
Q: What am I looking at?
A: Work by three second-year MFA students, a few months further down the line than their last show(s). Spot the changes!
Q: Weren’t there four of you at some point?
A: Actually, we’d like it if you just looked at the art.
Q: Why does this feel hostile?
A: You’re just projecting. We’re very happy here. Thank you for taking the time to look at our show. We now return you to your regularly scheduled program, already in progress.
New work by 2nd year MFA’s Elnaz Talaei, Doran Asher Walot, and Junwei Zhang
New work by MFA’s Claire Anderson, Eden V. Evans, Stephanie Parnes, Tannon Reckling, and Kevin Yatsu.
Claire Anderson:
My work strives to create a space that is empty of conclusion and uses the potential of a material to equalize the identities and conditions of all objects. Our desire to find familiarity and connections is tested by a lack of singular language towards an ambiguous thing.
Eden V. Evans:
Evans’ work explores materiality, process, and collaboration in an attempt to subtly navigate the space between playfulness and seriousness. Craft vernaculars, child-like science, earth-based elements, and material studies lead to investigations of light, darkness, and the unknown through the lens of mortality and discussions of what we leave behind.”
Stephanie Parnes:
“Uncertainty lies at the root of my practice, which straddles sculpture, drawing, and photography. I engage in iterative processes of finding, collecting, arranging and rearranging objects into speculative arrangements that probe contingent relationships and enact an ongoing restlessness and internal conflict.”
Tannon Reckling:
Reckling’s 3d work explores communication, documentation, and contact with a recent queer family member who was removed from his family’s history. Using a major weight loss as subject, Reckling examines dysphoria, class, abreaction, and electronic catharsis.
Kevin Yatsu:
Yatsu’s work is situated within the hyper€uidity of the internet landscape. He uses appropriation to coax forward the lexicon by which internet users operate and uses form as a means to create sympathetic structures for his Japanese-American identity.”
