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Inherited Fervor: Maternal Archive
Get PDFInherited Fervor: Maternal Archive investigates the deconstruction of the non-verbal language of Catholic ecstasy rituals to develop a choreographic language. Through the piece Doves Don’t Fly at Night, it explores the expansion of dancers’ physical range, positioning the body as an archive that embodies memories and mirrors the audience’s humanity
Aquí y Ahora A Dance Tribute to Gustavo Cerati and the Expression of Hispanic Immigrant Identity in New York City
No full textThis Thesis explores how dance serves as a language of cultural identity among Hispanic immigrants in New York City. Through a multidisciplinary performance and research, it reflects lived experiences, blending movement and music to celebrate legacy, resilience, and community, while honoring the influence of Argentine rock icon Gustavo Cerati
Tears, Blood, and Milk: Frida Kahlo\u27s Depictions of Maternity
Get PDFThis thesis analyzes Frida Kahlo’s representations of miscarriage, childbirth, and breastfeeding as departures from idealized portrayals of womanhood in post-revolutionary Mexico. Drawing on Catholic and Mesoamerican imagery, Kahlo reframes the maternal body as a site of resistance, engaging mexicanidad (Mexicanness) to counter its patriarchal constructions of national identity and gender
To Gather
No full textPaper explores artist\u27s sculptural and installation works via materials used, processes and personal/familial narrative and memories
Card Tables are a Dime a Dozen, Art is Rare
Get PDFIn this text, through the categories of truth and mimicry, discomfort, repetition, and bureaucracy, Shannon Pritchard dissects her studio practice. With a dedication to high craft, she investigates the world through the lens of the Freudian Uncanny, linking eerie subject matter to conspiracy mindset, mid-century politics, and personal relationships
A Limit that Recedes
No full textIn A Limit that Recedes , I discuss my art practice in terms of accumulation and techniques of reproduction, such as casting, printing, and repetitive actions. I contextualize my work among artists such as H.C. Westermann, Isa Genzken, and Paul Thek. The work featured in this thesis explores ideas of aspiration, longing, and failure, and explores themes of the fraught relationship of the human and nature
Productive Err
No full textIt is my inclination that visual language, especially utilized in art, is a crucial way to deal with a non-articulatable state we can find ourselves in, not necessarily to determine the reason for the inability to articulate, but to convey that there are things to communicate where words are evasive or inadequate
Woe be gone
Get PDFIn Woe be gone, Yuhan Hu explores the porous boundaries between image, memory, perception, and material through a deeply personal and reflective multimedia practice. Drawing on influences from film, literature, and game environments, Yuhan investigates how moments—fleeting or fixed—transform when mediated through photography, digital frames, and sculptural assemblage. Anchored by a series of installations and image-based works, the thesis unpacks the poetics of poor images, the failures and promises of translation, and the emotional residue of digital and physical touch. With a tactile sensitivity to materials like wood, wax, solder, and horsehair, Yuhan contemplates impermanence, miscommunication, and care, embracing the cracks, shifts, and losses as vital parts of meaning-making and artistic gesture
As Above So Below
Get PDFAs Above So Below is a short experimental documentary film that reveals an unexpected world of entanglements connecting life, death, and fungi in Brooklyn’s Green-Wood Cemetery. Fungi are nature’s decomposers, turning dead trees into soil so new trees can grow, for example. Mycorrhizal fungi perform acts of collaboration and mutualism, delivering water and nutrients to roots of plants through their underground networks of mycelium. As we struggle to find ways of living in and beyond this time of planetary crisis, rife with loneliness and grief, what can we learn from fungi and their entanglements? How can we move beyond dominant and anthropocentric ways of observing and telling stories to even find out? The film does not offer concrete answers, but it does attempt to assemble these questions and offer viewers a tranquil space of reflection to wonder about them.
The film positions the more-than-human—mushrooms, birds, a rain storm, and soil strata—in the foreground of the place, while their human collaborators and the environment they’ve built—gravestones, monuments, memories, and traffic—are in the background, though their presence is clearly audible, and occasionally visible. Motivated by a belief that there are many different ways to imagine and assemble worlds and tell stories outside dominant narratives, and that film is a particularly well-suited medium to organize these ideas, As Above So Below is an immersive and deeply meditative journey into the heart of a contaminated landscape, guided by the fruiting bodies of otherwise underground fungi that are anything but dead, and deeply valuable whether a human notices them or not
One Can Only Dream
Get PDFOne Can Only Dream is an interactive installation in which players are invited to navigate a liminal, dream-like game, engage with a branching series of questions, and introspect upon the relationships between unconscious expression, conscious self-perception, and the inherent difficulty of depicting, sharing, and understanding subconscious thought.
Rooted in both my personal experience with a rare neurophysiological condition and in my desire to create, this project examines dreams not only as a medical and cultural phenomenon, but also as a means to form identity, reflect trauma, and inspire creativity. Drawing from modern interactive storytelling and my lived experiences, this work explores the intersection between the metaphysicality and the biological reality of human sleep and dreams, as well as the still-limited medical understanding of atypical sleep architecture