301 Gallery · April 14-18, 2020
“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.
Annie Lee-Daly- Is trying to educate an uninformed audience on Asian-US relations while also assessing her own placement and privilege as an Asian in America. Intended to be housed in an ominous black box, “Vincent, don’t stay out too late” is a compilation of archival footage from Asian and American news casts, war footage, propaganda, films, and home movies.
Lys DelCampo- 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 they were making political protest work and it developed into openly showing their 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
Richelle Gilligan- Her artistic interests include making works that invoke individual emotion that may be unsettling or hard to articulate. Currently Gilligan 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.
Cayla Montes- Has been working on a series of photographs that relate to fear and anxiety, as well as exploring the idea of spirituality. What she is portraying is ambiguity, a sense of mystery and/or chaos. Pairing text with her digital and film images she has created narratives in hopes to evoke questions, concerns, or relations to the viewer. These “anxiety inducing” photographs will be paired with self portraiture work, a way to connect the artist to the anonymous answers of the phrases to herself, as well as representing this theme of fear as a personal one. Along with hanging and framing photographs on the wall (around 15 prints), there will also be zines on display and possibly for sale.
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 plans on hanging her work salon style just above eye level to create the feeling of the orbs looking down on the viewer.
Mareson Yates- Is working on a photo series focused around abandonment. Through black and white film he captures the traces of lives once lived in an abandoned homestead in Boxford, and his own ghostly marks as he enters and changes the space. The photographs will be up on display in a recreation of the house, and a soundscape of the building will be playing inside as well to give the viewer the feeling of being inside the building.
David Mshar- Has been working on a series of figurative monoprints. The prints are double-edged in regards to his studio practice as well as in his use of the medium. In one regard the prints are about the growth of monoprinting in his work from a side-involvement, to a more fully realized practice in his painting process. Aside from a side-involvement, to a more fully realized practice in his painting process. Aside from the technical exploration, the monoprints are figurative in nature. The self portraits are heavily influenced by David’s state of mind throughout the semester last year. The ideas range from experiences in trying to unlearn some of the reservations within his own practice, to personal afflictions regarding relationships with himself and others. The struggle is more evident in the handling than the content of prints. The prints are to be framed and hung traditionally on the walls.
Zeynep Yurtsever- 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, Zeynep has taken a deeper look into the idea of illusions. The photographs she uses explore the many different types of landscapes one encounters while traveling. They include the natural, built, cultural and living landscapes. She is interested in exploring them and the overlaps that exist and move beyond the traditional notion of landscape as unspoiled space. The vistas that she paints on glass are intentionally simplified forms of traditional landscape painting. They are void of human intervention and presence.