‘We’re Not in a Business of Warehousing Paper’: MFA students showcase vast …

May 20, 2015 - photo frame


Painting by Felicita Norris on perspective during a Stanford Art Gallery. (ERIC HUANG/The Stanford Daily)

Currently on perspective during a Stanford Art Gallery, “We’re Not in a Business of Warehousing Paper” is an MFA topic muster showcasing works from 5 art use MFA students: Einat Imber, Christopher Nickel, Felicita Norris, Daniela Rossell and Lauren Ashley Toomer. The muster is a melting pot, featuring ideas opposite opposite forms and media to residence issues trimming from tellurian communications to psychological boundaries. Process-wise, a works concentration quite on a materiality and hardness of cloth, paper and other such surfaces. The cultured of a vaunt is as most about materials as it is about a drawings and paintings themselves.

An whole wall of a gallery space is lonesome by a sea of strange shapes, drawn and embellished directly onto a wall regulating several tones and opposite media. Conglomerates of paint are interspersed with graphite and colourless scribbles, highlighting a topography of a wall. Here, a gallery space becomes a partial of a vaunt itself.


Imber’s burlap vessel commands a building of a gallery. (ERIC HUANG/The Stanford Daily)

Imber’s works, that concentration on a materiality of burlap, are huge and imposing. The categorical building of a vaunt is dominated by his large-scale burlap boat, that is modeled after an origami paper boat. On a behind wall of a exhibit, a array of 4 burlap banners hang downwards from a ceiling. Strings of tattered cloth tide down from a banners, that have been splashed with a blue slope regulating a photo-sensitive cyanotype process. Imber’s routine calls courtesy to imperfections and blemishes in a aspect of a cloth, emphasizing a hardness and how it contrasts with a sharp, geometric edges of Imber’s designs.

Nickel combines images and sculpture to paint information and communications networks. Sculptures that resemble webs of nodes and edges — suggestive of graphs or systematic diagrams — support possibly side of a array of photographs. The prints uncover a contours of electrical wires on intense white backgrounds, and they consolidate a physicality of practical information networks.

Other distinguished works in a vaunt understanding with a tellurian figure in propinquity to opposite materials. A array of paintings by Norris facilities bodies wrapped in several cloths and plastics. Norris’s works are abdominal and dramatic, and give off a sense of being trapped or asphyxiated. Paper and cloth are used here as objects of constraint. Toomer’s work, entitled “Figures in Ground (Chroma),” is embellished on a array of board scrolls laid out opposite a floor. Toomer’s colorful mark-making loosely suggests a participation of a figure on expanses of white cloth. She shows a physique in several poses, creation full use of disastrous space and a white of a board to erect her figures.

“We’re Not in a Business of Warehousing Paper” follows adult a glorious “Hi5” first-year MFA muster with another array of visually and conceptually overwhelming works.

“We’re Not in a Business of Warehousing Paper” is on perspective during a Stanford Art Gallery until Jun 14.

Contact Eric Huang during eyhuang ‘at’ stanford.edu.

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