“Late Bloomer” connects our exploration of physical and emotional placements, through politics, travel, abandoned homes, printmaking, and allegories.
Each artist considers physical and/or emotional placement within their own lives. On a conceptual and visual level, their works complement each other and create a sense of emotional connection. Ranging from black and white to earthly, muted tones, as you walk throughout the gallery, you can get a sense of the emotional aspects of each artist.
My work focuses on queer experiences and feelings that can be evoked in various spaces and with different people including friends at school or out at the bar or with a significant other out at the beach. This body of work started from a place where I was making political protest work and it developed into openly showing my own memories as a queer individual interacting with accepting people; experiencing friendship, love, bonding, and happiness; and occasionally reflecting on the fear and discomfort felt in unfamiliar spaces and with people who are less accepting of queer identities. Although visually lighthearted, I still consider this work a protest of a world where queer people experience fear and discomfort every time they leave their homes. I aim to reveal how mundane and casual queer relationships are and to encourage people to consider how ridiculous it is to have a negative view of people who are just trying to find their place in the world just like anyone else.
Lys is a printmaker and visual artist based in New England. Their interests in activism and psychology shine through in an artistic exploration of human rights issues through their own emotions and experiences. They utilize bold text and graphic characters along with more rendered drawing styles to convey stories and memories. While their specialties lie in printmaking, they also love working in watercolor and various other illustrative mediums, and they have a budding interest in book arts.
Titles, Mediums, Dimensions:
1. Lys DelCampo, Chop, monoprint
2. Lys DelCampo, Bar, lithograph
3. Lys DelCampo, You Ok?, monoprint
4. Lys DelCampo, Queer Kid, monoprint
5. Lys DelCampo, Forever, monoprint
6. Lys DelCampo, Magical, monoprint
7. Lys DelCampo, Safety, monoprint
8-13. Lys DelCampo, Turning Out, monoprints
14. Lys DelCampo, Words Shot Like Bullets, relief print
15. Lys DelCampo, Star Studded Memory, lithograph
16. Lys DelCampo, Bloom, monoprint
17. Lys DelCampo, Hotel, lithograph
18. Lys DelCampo, Playful, monoprint
19. Lys DelCampo, Speak Out, monoprint and silkscreen
20. Lys DelCampo, Beach Squad, monoprint
21. Lys DelCampo, Night Out, monoprint
22. Lys DelCampo, Glow, monoprint
First generation Irish and Boston native, Richelle is an active working artist pursuing a BFA in Printmaking at Montserrat College of art. Richelle has studied a wide range of painting, drawing, and sculptural techniques. Her primary mediums include woodcut, zinc plate etching, charcoal, and digital photography.
She has studied traditional Japanese printmaking and bookbinding in Niigata Japan at Niigata College of art and Design. She attends printmaking workshops during summers with printmaster Tom Huck. Her artistic interests include making works that invoke individual emotion that may be unsettling or hard to articulate. Her senior thesis currently focuses on comparing memory to a physical place in regards to her childhood church and religious upbringing. She is interested in the mother figure and the texts that shaped her. Besides contradictory imagery and writings her work appeals to not only the believer but the outsider and encourages conversation.
I wrote a book, but they didn’t want to read. I made a painting, but they didn’t want to investigate. I wore it on a t-shirt, but they wouldn’t look at me. Now it’s on film, exactly 8 minutes long and accessible on your phone, so that you can hold it in the palm of your hand.
I’ve amassed hundreds of images and hours of footage in my personal archive during my research, read through dozens of police reports on hate crimes, watched my friends put on eyelid tape — all this so you wouldn’t have to. There’s not much more I can do to prove that I know what I’m talking about. I know my history.
So this is for you. So that you can learn just 8 minutes of what this existence is like. So you, too, can know this history.
Annie Lee-Daly was born in New York City in 1998. She received a BFA in Interdisciplinary Studies from Montserrat College of Art in 2020. Informed by archival research and her experiences, Annie candidly explores race, history, and trauma through text and design.
While at Montserrat, she curated the show See Us, Hear Us to bring light to the lack of diversity at the institution and soon after began the school’s first Multicultural Student Union to address racism on campus.
She has shown at multiple galleries + spaces throughout Montserrat College of Art (2016-2020), the Red Fence Gallery (2017), and at the Queens Museum (2016).
to the stills + information on my website
to the film on Vimeo
Vincent, don’t stay out too late
Annie Lee-Daly b. 1998
single channel video
My thesis work has evolved in many different ways from the first time that I started working on representing the idea of fear, anxiety and spirituality. Anxiety and fear are personal experiences that I’m trying to broaden out by creating work that will evoke questions, thoughts, maybe even concerns from the viewer, as well as something they can possibly relate to. Anxiety is sometimes overlooked in certain aspects of today’s society, and with that comes many different manifestations of said anxiety. Instead of blatantly describing specific fears and the obvious feelings that come along with anxiety, I have used landscape photography, of places I’ve traveled and my environment, in both film and digital as well as self portraiture to do so. Focusing on lights and shadows is important to me when evoking certain emotions. Also, exploring the use of text as well as other people’s feelings, ideas, and emotions, has allowed me to further express the theme of anxiety and fear in a way that isn’t so straightforward, as you can see in the zine, Anonymous Oath. My self portraits were something I experimented with at first to connect with the camera in a new way, but also as a reaction to these anxieties and fears of myself and others. I really enjoy manipulating images to create a sense of chaos which is why the self portrait(s) look like some sort of double/triple exposure; but in this case it also helps relate to feeling overwhelmed, worried, scared, etc as you would with anxiety. Ambiguous has been a significant word to my work due to the way I transform text ( with use of things such as punctuation) and desaturating the photographs to black and white images. While open to other perspectives, this project still has personal meaning to it, trying to also represent healing and growth.
Cayla Montes is from Freeport, New York and has her BFA in Photo/Video/Film from Montserrat College of art. Creating conceptual work that portrays certain emotions, and executing that by incorporating things like double exposures, altered and manipulated audio, has been significant in her work. She takes inspiration from the environment and places she has traveled to. She says “Instead of setting up the scene that I photograph, I try to capture what I see in my perspective, sometimes that could be very abstract (working with light and shadows) or capturing architecture and recognizable aspects of nature. I’m interested in the process of the traditional aspects of using a film camera and developing the film, and I enjoy capturing landscapes and cityscapes, the natural world.” Black and white photography is something Cayla fell in love with and employs it often in most of her work. She continues to find new ways to evoke emotion in her work, as well as photographing portraits, something else she is very fond of. In 2019 she received the photography Merit Award from Montserrat and has exhibited in many on campus sites for Open House, as well as photographing live art performances and gallery receptions for Montserrat College of Art. Learn more here: caylahelenmontes.com
1_Montes_Cayla SELF PORTRAIT(DISMAY)
- Montes_Cayla SELF PORTRAIT(DISMAY)
- Montes_Cayla Anonymous Oath Zine Gif Preview
- Montes_Cayla Dazed Sanity
- Montes_Cayla Illuminated
- Montes_Cayla Somber Contemplation
- Montes_Cayla Silver Lining
- Montes_Cayla Uncertain Chaos
- Montes_Cayla Breathless
- Montes_Cayla Uneasy Gaze
- Montes_Cayla Safe Haven
- Montes_Cayla Anonymous Oath Zine Video Slideshow
**LINK TO VIEW ONLINE VERSION AND/OR BUY PHYSICAL COPY:
I have been working on a series of figurative monoprints. The prints are double-edged in regards to my studio practice as well as in the use of my medium. My series is about the development of printmaking alongside my painting practice. The self portraits are heavily influenced by my state of mind throughout the semester and this past year. The portraiture is more so about a transition in my work and trying to understand what is right in front of me rather than anything else. With painting, the process is intimate. I become very attached to the development of individual pieces, which leads to frustration. The immediacy and quick-handedness of the prints helps me to break a bit of my rigid painting technique. The unpredictable nature of running the plate through the press to get my image forces me to be more comfortable with my outcome. These monoprints are not only an exploration, but also means of working out said frustration with my painting process.
- David Mshar, Self Portrait, Monoprint 2019
- David Mshar, Ode to Alice Neel, Monoprint 2020
- David Mshar, Dying Flower in the Print Lab, Monoprint 2020
- David Mshar, You’ve Been Talking in Your Sleep, 2020
- David Mshar, Frustration with a Face, 2020
- David Mshar, Copper Kettle, 2020
“Denali Musgrave has been working on a series of monotypes using orbs to depict herself and the way she experiences and processes emotions. She has recently been exploring the use of non-rectangular paper and placement of the orbs to create the illusions of the orbs pulling the paper in different directions. Embossment has also played a major role in her work to play with the idea of something having been or something that was. “
Denali Musgrave is an emerging printmaker based in the North Shore of Massachusetts. While she is proficient in a variety of printmaking methods, monotype has a freedom that she hadn’t experienced before with other processes. She has used this freedom to explore the conceptual elements of her work and break away from more traditional printmaking.
Denali is interested in the interactions she has with herself and those she is surrounded by, and how these interactions ultimately affect not only her self-perception but the way that those perceive her. For her accomplishments in the printmaking department at Montserrat College of Art Denali has been awarded the Bob Edwards Scholarship, The Printmaking Merit Award, and the Printmaking Ambassador Award.
- Denali Musgrave, Strangulation, Monotype on Stonehenge
- Denali Musgrave, Portrait of my Mother and I (In Womb and Out), Blind Debossment on Bristol
- Denali Musgrave, Back Away (A Portrait of my Father and I), Monotype on Stonehenge
- Denali Musgrave, My Sister and I in a Past Life, Blind Debossment on Stonehenge
- Denali Musgrave, Second Trimester, Monotype on BFK
- Denali Musgrave, Third Trimester, Monotype on BFK
- Denali Musgrave, Spirit Leaving Womb, Monotype on BFK
This project is a photographic documentation of a figure interacting with an abandoned house. Through the images, the viewer can understand not only how the figure changes the space, but how the space changes the figure over time. The repetition of scenes is used to convey the obsession the figure has with this setting, but also to show the building trying to hold onto the fleeting moments of this life breathing back into it. Every time the figure comes back, the house reveals a new facet of itself, telling stories of lives once lived. The figure, and now the viewer, are left to try and piece together the story from the fragments left behind.
Mareson Yates is an artist concentrating in Photo, Video, and Film. While at Montserrat, he worked as a darkroom monitor as well as an event photographer for the Artrageous! 33 auction. He completed an internship with Patricia Scialo, a mixed media photographer who had recently moved her studio to the Lydia Pinkham Building in Lynn, Massachusetts. Although originally from Western Massachusetts, Mareson has travelled all around North America including Hawaii, the entire East coast of the USA, and a short trip into Ontario Canada. His photographs revolve around the idea of exploration and discovery while employing a myriad of photographic techniques, from darkroom to digital, experimental to formal.
Yates,Mareson_01 (Mareson Yates, Distortion, laser print)
- Yates,Mareson_01 (Mareson Yates, Distortion, laser print)
- Yates,Mareson_02 (Mareson Yates, Traces, laser print)
- Yates,Mareson_03 (Mareson Yates, The Upside Down, laser print)
- Yates,Mareson_04 (Mareson Yates, The Wind, laser print)
- Yates,Mareson_05 (Mareson Yates, House of Leaves, laser print)
- Yates,Mareson_06 (Mareson Yates, Passing Through, laser print)
- Yates,Mareson_07 (Mareson Yates, Split Reality, laser print)
- Yates,Mareson_08 (Mareson Yates, Dance Macabre, laser print)
- Yates,Mareson_09 (Mareson Yates, Stuck, laser print)
- Yates,Mareson_10 (Mareson Yates, The End, laser print)
My work digitally combines photographs with vistas originally painted on glass to create altered landscapes of illusion and representation. After reading The Allegory of the Cave by Plato, I’ve taken a deeper look into the idea of illusions. The photographs I use explore the many different types of landscapes one encounters while traveling. They include the natural, built, cultural and living landscapes. I am interested in exploring them and the overlaps that exist and move beyond the traditional notion of landscape as unspoiled space. The vistas that I paint on glass are intentionally simplified forms of traditional landscape painting. They are void of human intervention and presence.
Zeynep Yurtsever is an active multimedia artist, photographer and videographer. Her work has been influenced by the landscapes surrounding the Austin, Texas area where she grew up. She currently lives in Beverly, MA and will receive a Bachelor of Fine Arts degree in Photography/Film/Video from Montserrat College of Art in May of 2020. During her tenure at Montserrat, Zeynep worked as a Photo Monitor managing the facilities that includes a darkroom, shooting studio, digital workstations and digital output. She also participated in numerous exhibitions while a student. They include the “Juried Open House Exhibition” in the Main Gallery, in 2019, the “Senior Portfolio Exhibition” at the Ocean House Gallery in Cape Elizabeth, ME, 2018. Her work was also featured in the Artrageous exhibition and benefit auction in the spring of 2020.
In 2019 Zeynep traveled to Istanbul, Turkey where she completed an internship with Objektif Photography & Cinematography. She was responsible for shooting, editing and organizing wedding photographs. she has traveled extensively to photograph the multiple landscapes, peoples and cultures of Spain, Turkey and Belgium.
Zeynep Yurtsever, Coming Two Realities_01, Mixed media photographic alteration
1. Zeynep Yurtsever, Coming Two Realities_01, Mixed media photographic alteration
2. Zeynep Yurtsever, Coming Two Realities_02, Mixed media photographic alteration
3. Zeynep Yurtsever, Coming Two Realities_03, Mixed media photographic alteration
4. Zeynep Yurtsever, Coming Two Realities_04, Mixed media photographic alteration
5. Zeynep Yurtsever, Coming Two Realities_05, Mixed media photographic alteration
6. Zeynep Yurtsever, Coming Two Realities_06, Mixed media photographic alteration
7. Zeynep Yurtsever, Coming Two Realities_07, Mixed media photographic alteration
8. Zeynep Yurtsever, Coming Two Realities_08, Mixed media photographic alteration