The 2008 UC Berkeley M.F.A. exhibition gathers seven artists who,
despite working with disparate styles and subject matter, root their
practice in a common acknowledgment of the contemporary moment.
Rethinking critical concepts from personal vantage points, each artist
manages to relate aesthetic discourse to organic experience in a
tangible and meaningful way.
Implicit in the ceramic work of
Adrianne Crane is both the labor of manufacturing objects (often ritual
series of vessels and shapes) and an intimate confrontation with the
tactility of clay. Crane exhumes a childhood narrative for the
exhibition, creating snow-angel imprints on slip in performative
deference to the mark-making process.
Renée Delores subsumes
her work in the pursuit of a communicative relationship between man and
nature, often to the point of complete erasure. The mulched pages of
her handmade book, composed of over three years’ worth of drawings and
notes, exemplify the undercurrent of sacrificial atavism driving each
Rosalynn Khor’s intensely self-reflexive videos are a
conscientious response to the common modes of representation taken up
by the tourist trade. Using humor and experimental documentation to
strip the veneer off the tourist experience, Khor compels us to
recognize the complex labor and race relations underlying not only the
tourist industry but also her own artistic endeavors.
paintings of Indira Martina Morre suggest psychological landscapes that
experiment with the interaction of elemental spaces and ideas. In an
effort to reframe our understanding of the dots and dashes that make up
both the passwords to our virtual lives and the DNA of our bodily
presence, Morre’s painstakingly marbleized canvases are recoded with
nail holes and primal marks.
Emily Prince investigates the
irrational relation between identity and time. Manufacturing
contemporary versions of early-nineteenth-century zoopraxiscopes, one
of the earliest forms of the projector, Prince animates the resistance
of memory to attempted reconstructions of the fixed image.
digital storytelling of Wenhua Shi is an exercise in
psychogeography—tapping into individual narratives to illustrate a
landscape composed of more than just geographical and economic vectors.
Digitally capturing the travel stories of various people he encounters
in his daily routine, Shi allows gallery visitors to rendezvous with
strangers at random, as if they were in a train station or airport.
Taylor’s paintings subvert our expectations of natural landscape by
creating an unexpected portraiture that is disarming in its realism.
Taylor’s depictions of animals devastated by the farming industry are
distinctly intelligible—the viewer must take responsibility for
understanding such an image as part of an interpersonal and political
MATRIX Curatorial Assistant