Maine College of Art & Design 2024 MFA Thesis

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	<title>Maine College of Art &#38; Design 2024 MFA Thesis</title>
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	<pubDate>Mon, 29 Apr 2024 21:49:00 +0000</pubDate>
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		<pubDate>Mon, 01 Apr 2024 13:39:48 +0000</pubDate>

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	Institute of Contemporary Art at Maine College of Art &#38;amp; DesignICA Gallery hours: Wed–Sun, 11:00am–5:00pm, Thursday, 11:00am–7:00pm
	
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		<title>Emily Elizabeth Buchalski</title>
				
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		<pubDate>Mon, 01 Apr 2024 13:39:51 +0000</pubDate>

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	Emily Elizabeth Buchalski
Emily Elizabeth Buchalski is an interdisciplinary maker, based in New Jersey. She has always been drawn to the shadows that lurk at the edges of perception. While some may shy away from such themes, Emily has always experienced comfort with this. Compelled to explore what draws her to the complexity and depth they offer, she believes that darker aspects of conceptual understanding is not something to be feared but rather embraced as an integral part of the human experience. By creating immersive experiences as part of her practice, she engineers spaces that provide opportunities to confront society's fears and experience the rawest aspects of our humanity. 
I am not sure why it is so difficult for people to confront the things that are fucked up in the world. Intellectually, I understand that there are consequences from confrontation that can occur. However, if nothing is done, then the end result is always going to be some type of conformity. That is not proactive. Beneficial steps do not happen from being silent.

As a maker, my primary objective is not just to create aesthetically pleasing work, but to forge meaningful connections through my art, delving into the often unsettling issues that plague society. I strive to infuse the work with a rich semiotic language, weaving together layers of symbolism and metaphor to provoke thought and evoke emotions. Creating immersive experiences where viewers are compelled to engage deeply allows a space for confronting the uncomfortable truths and challenging narratives that permeate our world. Through this dialogue between maker and audience, I aspire to spark critical reflection and inspire action towards awareness, and maybe one day, change.


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		<title>Drew Eastwood</title>
				
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		<pubDate>Mon, 01 Apr 2024 13:39:51 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

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	www.dreweastwood.com
@drew_eastwood_art


Drew Eastwood
Drew Eastwood (b. 1997, Michigan, USA), currently resides and works out of Portland, Maine. Eastwood has attended Saginaw Valley State University where they earned a Bachelors of Arts degree with a minor in graphic design and is a recent graduate from Maine College of Art &#38;amp; Design where they obtained their Masters of Fine Arts degree. Their work has been published internationally and are continuing to exhibit regionally, most notably in the upcoming MFA Thesis Exhibition at the Institute of Contemporary Art in Portland, ME; and previously at Gallery263, Cambridge, MA; NOTCH8 Gallery, Portland, ME; the UAG, Saginaw, MI. Eastwood’s work has been internationally published twice in ArtIt Magazine's Voice of Artists publication series (Issue 12 - Portrait &#38;amp; Figure and Issue 16 - 100 Artists Bringing Figures to Life). While also being published within a SVSU produced literary art magazine titled, Still Lives, which is nationally recognized by American Scholastic Press.As human beings we seek so hard to categorize everything, our feelings, our emotions, our gender. How can we faithfully do this when our past selves are no longer the ones we recognize? How can art be a catalyst to liberate our souls? With an artistic practice rooted in bricolage, my work seeks to unpack, digest, and reconcile a life grown up in a male body. Where masculine stoicism and masochistic ideals have perpetuated outdated Western views on masculinity, putting on a straight jacket of societal expectations constraining generations of men. Approaching bricolage as a conceptual framework and a physical process I am able to re-construct a new masculine and cultural identity; envisioning a future that resists archaic gender preconceptions. 

From our mass media culture I draw inspiration for drawings, paintings, collages and murals, allowing my work to freely live in spaces that both collapse inwardly as singular objects while also expanding outward to construct whole worlds. This fluctuation is what grants the work agency to live within the margins, separate from the singular binary that we have been reduced to in the West. Though speaking primarily around the subversion of masculinity and promoting the multitude of ways men can exist in this world; the work can show an experience that can be universal in nature. We are all harmed by a stifling set of traditions underneath the extended reach of the patriarchy.


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		<title>Kait Gallaugher</title>
				
		<link>https://mecamfa24.cargo.site/Kait-Gallaugher</link>

		<pubDate>Mon, 01 Apr 2024 13:39:52 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

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www.kaitgallaugher.com
@kaitsg.artKait Gallaugher
Kait Gallaugher is an artist, teacher, and writer who works in a broad range of media from wearables, to zines, to interactive sculpture. The common thread through all of their work is human interaction, which stems from their experience as an educator. Gallaugher attended SUNY College at New Paltz and graduated with a Bachelor of Science in Visual Arts Education with a Concentration in Metal in 2021, before spending a year working in public schools while applying to graduate school. During this gap year they were able to exhibit their work in group shows at Unison Arts Center in New Paltz, New York, and at Lagoon New York as a part of New York City Jewelry Week.  Their thesis research in Maine College of Art &#38;amp; Design’s MFA program is centered around interactive print installations focused on celebrating posters as an activist practice and to engage with the community.  While at MECA&#38;amp;D Gallaugher has worked as a Writing Coach in the Joanne Waxman Library, where they support students with things like time management, professional writing, and studio research. Moving forward in their practice, Gallaugher plans to continue making zines and posters, and continue collaborating with other artists on new projects. Kait Gallaugher is a community oriented artist who works in a variety of media from installations, to wearables and zines. Their most recent projects have involved both collaborating with other artists and inviting viewer participation in interactive print installations. These installations borrow language from street infrastructure and publishing practices to bring attention to the anonymous collaborations that happen on places like telephone poles and street signs. Participants are invited to make posters of their own to add to the accumulation that grows over the course of the exhibition. Gallaugher also has a practice of collecting imagery from these accumulations of printed matter. This practice is rooted in a lineage of queer and punk zines as well as protest art, and through participating, people are invited to have more agency in the gallery space.
 

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		<title>Taylor Glenn</title>
				
		<link>https://mecamfa24.cargo.site/Taylor-Glenn</link>

		<pubDate>Mon, 01 Apr 2024 13:39:52 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

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	&#38;nbsp;taylorglenn.art


Taylor Glenn
Based in California and Maine, artist Taylor Glenn (b. 2000) focuses on feminism, materiality, and intimate relationships through the use of textiles and found objects in large sculpturally-informed works. Influenced by her formal training as a graphic designer, Glenn gravitates toward color harmonies and material histories in analog and digital forms. She graduated with her BFA from Laguna College of Art + Design, with honors in 2022 and with her MFA from Maine College of Art &#38;amp; Design in 2024. Glenn has exhibited her work across the country in galleries, museums, collaborative zines, and virtual curations including The Festival of Arts and The Sawdust Festival in Laguna Beach, CA and the Zand Head Gallery in Portland, ME. Glenn currently teaches in the Illustration department at Laguna College of Art + Design and teaches art workshops through an educational non-profit organization. She is also a published poet.  

My work explores human connectivity through objects and our intimate relationships with non-living forms, the environment, and others through a feminist perspective. In my work, two modes of making are present: assemblage with found objects and hand-making in the traditional sense of craft practices. Through the making process, I form a profound yet awkward closeness with these objects using the proximity of the material to its counterpart and my own touch. I fuse my personal mythology with those of others through the narratives stored in the object itself. I utilize the softness and familiarity of materials to showcase a more human side to our object-dependent evolution. As I unravel intimacy, I untangle what support systems look like regarding interpersonal relationships and societal structures using the act of leaning and architectural dependencies in sculptural structures. Current work investigates the inherent strength among softness while examining the concept of comfort through bundling, disguising seemingly weighted objects with feminine attributes. As someone who often struggles with forming deep connections with others, I make work to seek closeness and vulnerability. I aim to grapple with and prove that we are not as isolated as we might imagine by exposing the interwoven links to unknown people (past and present) through objects, whether bought, abandoned, donated, or found.


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&#60;img width="6000" height="6415" width_o="6000" height_o="6415" data-src="https://freight.cargo.site/t/original/i/fd5549b558ef14d3a200e8940c574ef2656d4dc5d09af55aa0528808819010cc/Bundles_1_Taylor-Glenn.jpg" data-mid="209676211" border="0"  src="https://freight.cargo.site/w/1000/i/fd5549b558ef14d3a200e8940c574ef2656d4dc5d09af55aa0528808819010cc/Bundles_1_Taylor-Glenn.jpg" /&#62;
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&#60;img width="4500" height="6307" width_o="4500" height_o="6307" data-src="https://freight.cargo.site/t/original/i/8d5ef93ff1c9334e01e5eaae98fe0a268c4caf689013d65c825b0ab65eef255c/Thinking-of-You_1_Taylor-Glenn.jpg" data-mid="209675928" border="0"  src="https://freight.cargo.site/w/1000/i/8d5ef93ff1c9334e01e5eaae98fe0a268c4caf689013d65c825b0ab65eef255c/Thinking-of-You_1_Taylor-Glenn.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Paige Hanson</title>
				
		<link>https://mecamfa24.cargo.site/Paige-Hanson</link>

		<pubDate>Mon, 01 Apr 2024 13:39:52 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

		<guid isPermaLink="true">https://mecamfa24.cargo.site/Paige-Hanson</guid>

		<description>
	Paige Hanson
Paige Hanson graduated with a BFA from Northern Arizona University in 2022 and is currently based just outside of Portland, Oregon. Primarily a painter, Hanson’s work focuses on themes of change, loss, climate anxiety, personal narratives and natural events. Her work is often abstract and translates conceptual concerns into definitive formal considerations of color, form, line and shape. Hanson works in a variety of wet and dry mediums, but has a distinctly painterly sensibility. Her work deals with the primary challenges of abstraction as it relates to contemporary living.Paige Hanson is a painter who works within a primarily abstract methodology. Her works aim to make note of contemporary life, by highlighting the distinctions between the physical experience and the imagined. Through abstractions, Hanson ruminates on the edges between natural transitions, moments of change and real life events that incite extreme change. The works act as visual conduits to explain both the massive and individual consequences of extreme transition. 


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&#60;img width="1397" height="1861" width_o="1397" height_o="1861" data-src="https://freight.cargo.site/t/original/i/40d4f0e4db1a58b583fcb5a41daace5a69d57ab16ea558068b59f4147361599d/IMG_0651.jpg" data-mid="209981410" border="0"  src="https://freight.cargo.site/w/1000/i/40d4f0e4db1a58b583fcb5a41daace5a69d57ab16ea558068b59f4147361599d/IMG_0651.jpg" /&#62;
&#60;img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/7154fdd88cddb8481d1878d0ea5ad7150d728b2ba9498976f1d2368e431ed93f/IMG_0691.JPG" data-mid="209981405" border="0"  src="https://freight.cargo.site/w/1000/i/7154fdd88cddb8481d1878d0ea5ad7150d728b2ba9498976f1d2368e431ed93f/IMG_0691.JPG" /&#62;
&#60;img width="851" height="1048" width_o="851" height_o="1048" data-src="https://freight.cargo.site/t/original/i/f9f6cc700fb6d4cf4c852ecaabe5241b1484c5803a9b4c124320b3be8ece87b3/IMG_06931.jpg" data-mid="209981415" border="0"  src="https://freight.cargo.site/w/851/i/f9f6cc700fb6d4cf4c852ecaabe5241b1484c5803a9b4c124320b3be8ece87b3/IMG_06931.jpg" /&#62;
&#60;img width="1266" height="1728" width_o="1266" height_o="1728" data-src="https://freight.cargo.site/t/original/i/f753ffc91f58b96ba903fb8496d596b5a9b090be9e97b68943ea4465c5fde9f1/IMG_0678.jpg" data-mid="209981412" border="0"  src="https://freight.cargo.site/w/1000/i/f753ffc91f58b96ba903fb8496d596b5a9b090be9e97b68943ea4465c5fde9f1/IMG_0678.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Ian MacFarlane</title>
				
		<link>https://mecamfa24.cargo.site/Ian-MacFarlane</link>

		<pubDate>Mon, 01 Apr 2024 13:39:53 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

		<guid isPermaLink="true">https://mecamfa24.cargo.site/Ian-MacFarlane</guid>

		<description>
	@ianmacfarlane.artIan MacFarlaneIan MacFarlane (b. 1999) is an American artist based in Portland, Maine. His work engages with cuteness as an aesthetic mode of emotional embodiment. He received his undergraduate degree in visual arts, with a minor in architecture, from Roger Williams University in Bristol, Rhode Island in 2022. He is a current MFA candidate at Maine College of Art and Design (Portland, ME) and is expected to finish his degree in May of 2024. His work has been exhibited in the Raver’s Hospice group show at Roger That! Gallery in Bristol, Rhode Island and in the upcoming Thesis Exhibition at the Institute of Contemporary Art in Portland, Maine. 
Within my artistic practice, I use the aesthetic mode of cuteness to approach emotional embodiment. My work takes form through a whimsical world of ceramic characters; lumpy, wobbly, crude, and each unique in their own imaginative curiosity. I place value within the process of nurturing these characters through the transformative characteristics of clay.
	
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0eefa3553b67049da7896bffe9bbf4e30865432664fcf3801d1a9cdce93c84c0/1_MacFarlane_2024.jpg" data-mid="209678185" border="0"  src="https://freight.cargo.site/w/1000/i/0eefa3553b67049da7896bffe9bbf4e30865432664fcf3801d1a9cdce93c84c0/1_MacFarlane_2024.jpg" /&#62;
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&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/bfdd1dd3574485c21f0f069bca177277455ecca2d29ea55be45f1b07b3457d70/15_MacFarlane_2024.jpg" data-mid="209678195" border="0"  src="https://freight.cargo.site/w/1000/i/bfdd1dd3574485c21f0f069bca177277455ecca2d29ea55be45f1b07b3457d70/15_MacFarlane_2024.jpg" /&#62;
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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dc6c276f975b88f740cff6c5c555c838080e166e141e7bc4467fd0daed8c5a21/12_MacFarlane_2024.jpg" data-mid="209678188" border="0"  src="https://freight.cargo.site/w/1000/i/dc6c276f975b88f740cff6c5c555c838080e166e141e7bc4467fd0daed8c5a21/12_MacFarlane_2024.jpg" /&#62;
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&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>Adam Masterman</title>
				
		<link>https://mecamfa24.cargo.site/Adam-Masterman</link>

		<pubDate>Mon, 29 Apr 2024 21:49:00 +0000</pubDate>

		<dc:creator>Maine College of Art &#38; Design 2024 MFA Thesis</dc:creator>

		<guid isPermaLink="true">https://mecamfa24.cargo.site/Adam-Masterman</guid>

		<description>
	Adam Masterman
Adam Masterman works in both comics and painting to explore intersections between the personal, the technological and the imaginary, crafting work that examines the creative process in the digital age. His paintings feature personal images filtered through both digital media and traditional painting processes, creating a painterly vocabulary that incorporates pop culture, art history and his own personal repertoire of mark-making. Adam studied painting at Bates College, graduating in 2000. Since that time, he has pursued both a painting and a comics making practice while teaching elementary school in Western Maine. His comics have been published by Dark Horse, ComixTribe and other publishers, and his first graphic novel is serialized on Webtoon. His paintings have been exhibited in local art festivals, and belong to several private collections. Adam received his MFA at the Maine College of Art &#38;amp; Design in 2024.A teacher once told me that the “problem of painting is the problem of two-dimensionality,” a description I love, aside from the fact that “problem” has a negative connotation. The problem here is actually the source of everything that is captivating about the art of painting: bringing experiences that happen in depth to a surface, and all of the possible permutations that that translation entails. Paint on a surface always seems to wrestle with the basic tension between looking like paint, and looking like something else; what (theoretically) is one thing seems to be divided in two. I am less interested in blurring that line than in bringing these two modes into conversation. Paint moves through real space, pushing and sliding across a plane, describing and also interrupting another space that is itself constructed by paint. Gesture implies the figure of the artist, while content creates an object for that same subject. Colors both refer to external situations of light and texture, and sit on the surface as themselves. Ultimately, two very different and contradictory possibilities for what paint is have to cooperate. My paintings are created through a hybrid of digital and traditional techniques, with images that cite the visual vernacular of life in the digital age. The act of seeing is filtered through the digital, and then merged with the act of painting; as much as possible (and in as many ways as possible) they are “paintings of painting.”
	
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