Close but Not Touching
The 2022 MFA Thesis Exhibition
![2022 MFA web 1500x1000](https://stamps.imgix.net/images/events/2022-MFA-web-1500x1000.jpg?auto=format%2Ccompress&crop=focalpoint&cs=srgb&fit=crop&fp-x=0.5&fp-y=0.5&h=800&imgixProfile=default&q=80&w=1200)
March 25 – April 30, 2022
In-person Event
Stamps Gallery
201 South Division Street
Ann Arbor, Michigan 48104
Map/Directions
Hours/Access
Exhibition
Open to the public
Free of charge
Close but Not Touching:The 2022 MFA Thesis Exhibition is on view from March 25 — April 30, 2022 at Stamps Gallery. The exhibition brings together culminating projects by 2nd-year graduate students Nick Azzaro, Martha Daghlian, Razi Jafri, Natalia Rocafuerte, Ellie Schmidt, Kristina Sheufelt, and Georgia b. Smith.
Related Events
- 2022 MFA Thesis Exhibition Open Hours - March 25, 2022
Nick Azzaro: Undoctrination
Undoctrination is the unlearning of the white-washed history and manufactured perceptions that allows for the acceptance and perpetuation of oppression in America’s underserved public schools. My work sheds light on the hidden, yet intentional systemic failures within American public education, such as resource gaps, schools of choice, and failing students forward.
Accessibility is a large part of my work. I deliberately use materials commonly found in underserved public school art programs, such as printer paper, tempera paint, and markers, along with homemade materials such as wheatpaste made from flour and water.
For more information, visit nickazzaro.xyz
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Nick Azzaro: I Pledge a Credence
Nick Azzaro: I Pledge a CredenceGRADUATEWe're reminded of how great the Untied States of America is when we look at the flag and recite t...
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Nick Azzaro: Part of the American School Desk installation
Nick Azzaro: Part of the American School Desk installationGRADUATEUndoctrination (noun) 1. The unlearning of the white-washed history and manufactured perceptions ...
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Nick Azzaro: Part of the American School Desk installation
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Nick Azzaro: Part of the American School Desk installation
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Nick Azzaro: American School Desk
Nick Azzaro: American School DeskGRADUATEPrinter paper can be one of the only materials to give students in underserved public school dist...
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Nick Azzaro: American School Desk
Nick Azzaro: American School DeskGRADUATEIndividual 8.5" by 11" sheets of printer paper can be seen in this closer view.
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Nick Azzaro: American School Desk
Nick Azzaro: American School DeskGRADUATESeveral Ku Klux Klan robe-like eye holes were cut into the large paper desk and represent the str...
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Nick Azzaro: American School Desk
Nick Azzaro: American School DeskGRADUATEMuch like the fragility of the American public education system, the large paper desk begins to c...
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Nick Azzaro: American School Desk
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Nick Azzaro: American School Desk
Nick Azzaro: American School DeskGRADUATEA closer view of the klan-like eyes that face the street.
martha daghlian: a thousand circlets...
Coinciding with the Industrial Revolution, the art of the Romantic period in European history (1789−1850) registers an anxiety toward imminent shifts in human-nature relations. a thousand circlets… explores an alternate, asynchronous romanticism that persists in our present time of ecological unease. Poetry, art, and philosophical writings from the era are dismantled, transmuted, and collaged to offer portals into a kaleidoscopic future history of the present. These strange timelines are not fixed but flicker like embers or films, animated by a “plastic and vast… intellectual breeze.” (Samuel Taylor Coleridge, “The Eolian Harp”)
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martha daghlian: "a thousand circlets..." installation view
Natalia Rocafuerte: Dream Machine Archive
Following a Jungian Psychoanalysis format, embracing mystery and the occult, the following questions were prompted to five Mexican Immigrant women as they called in their dreams to a dream hotline. The audio was used in various methodologies, including glitch animations, films, installations and 360 videos as a media landscape.
How old were you in the dream?
What language was the dream in?
In what country was the dream?
What did you feel?
I wondered what happens when you can’t call home and how does technology mediate our personal understanding of our surroundings.
For more information, visit: nataliarocafuerte.com
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Natalia Rocafuerte: Dream Machine Archive
Natalia Rocafuerte: Dream Machine ArchiveGRADUATEDream Machine Archive transmits how media can archive and mirror of our lives environments. The d...
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Natalia Rocafuerte: Dream Machine Archive
Natalia Rocafuerte: Dream Machine ArchiveGRADUATEDream Machine Archive transmits how media can archive and mirror of our lives environments. The d...
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Natalia Rocafuerte: Pocha dreams
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Natalia Rocafuerte: Dream Machine Archive
Natalia Rocafuerte: Dream Machine ArchiveGRADUATEDream Machine Archive transmits how media can archive and mirror of our lives environments. The d...
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Natalia Rocafuerte: Dream Machine Archive
Natalia Rocafuerte: Dream Machine ArchiveGRADUATEDream Machine Archive transmits how media can archive and mirror of our lives environments. The d...
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Natalia Rocafuerte: Interaction with the Dream Archive
Natalia Rocafuerte: Interaction with the Dream ArchiveGRADUATEGuests interacting with installation on opening night.
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Natalia Rocafuerte
Natalia RocafuerteGRADUATEA 360 Dream Archival Digital Video. Shot at every Mexican Market in Ypsilanti, archiving a dream ...
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Natalia Rocafuerte: Interaction with the Dream Archive
Natalia Rocafuerte: Interaction with the Dream ArchiveGRADUATEGuests interacting with installation on opening night.
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Natalia Rocafuerte: Interaction with the Dream Archive
Natalia Rocafuerte: Interaction with the Dream ArchiveGRADUATEGuests interacting with installation on opening night.
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Natalia Rocafuerte: Interaction with the Dream Archive
Natalia Rocafuerte: Interaction with the Dream ArchiveGRADUATEGuests interacting with installation on opening night.
Ellie Schmidt: the tide pool room: a love story
the tide pool room: a love story uses durational film, a hammock installation, and creative essays about swimming to meditate on the emotional crosscurrents of love, loss, friendship, swimming, and tide pools. An immersive installation with ten tie-dyed hammocks invites viewers to stay a while and watch a film made up of long takes of tidal pools and underwater landscapes in Southeast Alaska. The film lasts for six hours and thirteen minutes, the length of time between low tide and high tide on Earth, and is accompanied by an equally long score by Julie Zhu. The film draws from interdisciplinary influences including the permeable meditations of hydrofeminist theory, Norwegian Slow TV, and the ecological study of the in-between spaces of the ecotone.
Two tide pool fountain sculptures create water sounds that interact with the sounds of the film, and a large-scale ‘tide-eye’ painting hangs on the wall. The viewer is also invited to take home a booklet of short essays by the artist, including a prose poem about cutting fish and a collection of stories about swims with a beloved friend.
For more information, visit ellieschmidt.com
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Ellie Schmidt: the tide pool room: a love story, installation view
Photo by Katie Alexis -
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Ellie Schmidt: the tide pool room: a love story, installation view
Photo by Katie Alexis -
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Ellie Schmidt: the tide pool room: a love story, installation view
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Ellie Schmidt: the tide pool room: a love story, installation view
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Ellie Schmidt: the tide pool room: a love story
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Ellie Schmidt: the tide pool room: a love story
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Ellie Schmidt: the tide pool room: a love story, installation view
Kristina Sheufelt: a wind from noplace
A Wind From Noplace is an interdisciplinary body of visual artworks, creative research and writings surrounding my attempts to understand human ecology through a personal lens. In the making of these works, I attempt to uncover and transcribe the psychophysiological roots of my intimacy with land, flora, and fauna.
The installation includes two large kinetic landscape sculptures with corresponding videos and a third, smaller sculpture. Beside the largest of the sculptures, the wall text reads:
What does it mean to hold memories of a changing landscape? Like lost loved ones, can we keep mountains and meadows with us after they are gone, or after we have gone from them? A Wind From Noplace uses physiological data to understand the land as an object of affection, a surrogate for emotional relationships with humans absent from our lives. With a collection of heartbeats and brainwaves, I attempt to reanimate the landscapes of my memory, blurring lines of species, geography, and self.
In each kinetic sculpture, I capture several moments of my body’s responses to natural landscapes, translating the fluctuations in physiological activity relating to sensory perception into a visual language for interpreting emotion and sensation.
These brief moments of bodily response to stimuli were captured over the summer in remote or isolated locations, after I completed a six-week trek through mountainous backcountry. I’ve spent the nine months since I came out of the backcountry trying to remember it, to hold onto what that immersion did for me, both in body and mind. In A Wind From Noplace, the viewer is not only witness to those moments, but participant in my attempts to reconfigure them.
For more information, visit kristinasheufelt.com
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Kristina Sheufelt: a wind from noplace
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Kristina Sheufelt: a wind from noplace
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Kristina Sheufelt: a wind from noplace
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Kristina Sheufelt: A Wind From Noplace
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Kristina Sheufelt: A Wind From Noplace
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Kristina Sheufelt: Limnicardia
Kristina Sheufelt: LimnicardiaGRADUATEIn this piece, a second kinetic landscape reflects physiological data in the movement of water, p...
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Kristina Sheufelt: Limnicardia
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Kristina Sheufelt: Limnicardia
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Kristina Sheufelt: Psychoagrostological Translation Device
201 South Division Street
Ann Arbor, Michigan 48104
Map/Directions
- Sunday: Closed
- Monday: Closed
- Tuesday: Closed
- Wednesday: 11:00 am – 5:00 pm
- Thursday: 11:00 am – 7:00 pm
- Friday: 11:00 am – 5:00 pm
- Saturday: 11:00 am – 5:00 pm