MFA 2nd Year Exhibition
The Department of Art at the University of California, Irvine presents Please wait here, a group exhibition by the MFA class of 2022.
Katherine Aungier utilizes dimension, flatness, and dramatic scale shifts to point to the presence of the body in a particular place. Here Aungier works with paint, dust, ceramics, linoleum, canvas and sound to create a spatialized experience. Her practice is centered around questions of ecocide and its many impacts.
Andy Bennett explores the blurring of art and life through performance. His work investigates representations of the self, which often oscillate between autobiographical and constructed personas. Tactics such as LARPing (live action role playing) facilitate the integration of the real and the fictive, and the artist’s collection of home movies provides evidence of his personal history.
Hiroshi Clark’s practice considers the representation of material within urban space. Clark utilizes hybrid forms of photographic processes to question the residual effects of human use and consumption.
Tarik Garrett works across a wide range of materials and modes of making, driven by a process of research and recontextualization to rethink notions of ownership, authorship, labor, and value within the historical framework of social inequity.
Rahel Levine: check when next, make blanks, spring onions, text about what is required for text, limes, reading and notes for-, washing, do they have spaces in between? the gaps of whatever -, isn’t that sometimes me and is it the case that, beer, then back into the things we should have been talking about before-, memory remainders – holding onto-, things to cancel, what is the opposite of, what is not a love letter…
Margaret Oakley’s process is rooted in a non-hierarchical vision of totality that draws from feminist histories, folk knowledge, and expanded notions of ecology. This work is warped with relationality and wefted by inquiry into ideas of intimacy, temporality, and authorship.
Doris Rivera uses sculpture and materiality to investigate manifestations of colonial histories and institutionalized whiteness at the intersection of gendered and diasporic subjectivities.
Gosia Wojas works with human simulation models to examine the rapidly changing notion of the subject-object relationship, asking if: In our computational age of self-gazing, endless curation, and exhibition, is human entanglement with objects reconstituting the experience of intimacy and understanding of reality, and what does this love affair mean for the political subject.