LA JOLLA--The UCSD University Art Gallery and Visual Arts Department are pleased to announce Heterotopia, an exhibition featuring the work of this year's graduating MFA students. Conceived by Michel Foucault, "heterotopia" describes non-hegemonic conditions of human geography. Heterotopias consist of socially-elaborated counter-sites, or places where the real sites within and between cultures are simultaneously represented, contested, and upended. Consistent with Foucault's heterotopia, the conditions of a fine arts program are apt to be likewise non-hegemonic and discursive - a space of critical deliberation, evolution, and a plurality of ideas. We have expanded this notion to encompass the various trajectories and coexistent practices of this widely diverse graduating class.
Joshua Aaron's paintings, based on photographs taken in the California deserts, mountains, and forests capture the fantastical aura of the California wild.
Sadie Barnette confounds the mass-produced and the handmade in her detailed and delicate pencil drawings of consumer products, while simultaneously exploring the spectacle of the everyday through the juxtaposition of these images with her installation of floor-to-ceiling glitter wallpaper.
Mike Calway-Fagen incorporates elements of the personal, representational, and structural to create a dialectic between seemingly disparate elements that seeks to provide a new way of understanding each element in relation to the other.
Alida Cervantes' large-scale paintings center on an ongoing interest in sexuality, power dynamics and the casta system of Colonial Mexico.
Elizabeth Chaney addresses issues of agriculture and labor in the format of dinner conversations, expanding these round-table discussions into published and distributed 'zines stretching the ephemeral table cloth notations and commentaries of the dinner into the basis for a more widespread engaged discussion.
Christopher Kardambikis' dual interests in Earth and space draw from sources both academic and science fiction, incorporated with a love of comics and Greek heritage to construct a personal mythology that comes to life in detailed and carefully manipulated landscape prints.
Hyeyeon Kim investigates the spatial poetics of human interaction via performances of collaborative, orchestrated, repetitive and often nonsensical movements.
Stephanie Lie assesses the production and status of drawing with her custom electronic drawing machine, which is coded based on a 17th century Chinese handbook on the fundamentals of painting.
For Scott Lyne, Bristol Dry Lake has become the source for his modeled miniature sculptures, which were inspired by the forms discovered at this site where the mineral and mechanical mix.
In Vanessa Roveto's work, found objects are exhibited as an improbable figuration of variously glib and caustic images; the jest and satire of such pieces are welded to real historical conditions of trauma and violence.
Vabianna Santos explores the resemblance between crazed music fan and spirit possession via performing the teen fan with fetishized objects of three deceased iconic punk puppets.
Jessica Sledge documents, reconfigures and interacts with the collected objects that occupy her neighbor Judy McCloud's garage, both revitalizing and breathing new life into these previously inert objects.
Ash Eliza Smith uses performance, video, photography, and site-specific choreographed play to blur the boundaries between the mythological and the everyday to probe the fissures and haunted infrastructures of place, space, and time.
Through an engagement with personal possessions tied to early memories, Rayyane Tabet explores the malleability of memory and seeks to reconfigure the mnemonic quality of objects.
Xiao Ya's videos incorporate ambiguity, tragedy, and the fantastic to create mysterious narratives that resemble the hallucinatory nature of dreams.
Joe Yorty confounds the handcrafted with the second-hand object in his sculptures, calling into question the role of fabrication and the authenticity of material in relation to conditions of display and acquisition.
Brian Zimmerman externalizes the subjective experience, seeking to elicit empathy through the visceral depiction of emotional anguish.
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