Fault Lines: 2020 Mills College Senior Thesis Exhibition
Not on view
5/8/2020 - 7/1/2020
Organizing institution: Mills College Art Museum
NOTE: This exhibition was cancelled due to COVID-19 and was presented as a digital publication.
An annual exhibition featuring the work of graduating Studio Art majors, the senior thesis exhibition provides a unique opportunity for these artists to present their work in a professional art museum. This year’s presenting artists are Sequoia Belk-Hurst, Téa An-Yi Blatt, L.A. Bonet, De’Ana Brownfield, Carla Cardenas, Lexi Castillo, Sarah Frances, Sloane Gershov, Danielle La Fontaine, Thea Moerman, Raissa Palacios, Yana Sternberger-Moye, Ellis Teare, and Rowan Weir. Experimenting with a range of forms and media, from painting to installation and video, the artists in Fault Lines examine identity, diaspora, memory, family, spirituality, and embodied experience. For these promising artists, the exhibition is an exciting demonstration of their artistic potential and the creative possibilities within their work.
Sequoia Belk-Hurst engages the fragile boundaries between the artist's self, their tools, and the art object through a corporeal creative practice. Their contribution to Fault Lines includes sculptures, prints, and drawings made with, by, and of their own body.
In this body of mixed media work, Téa An-Yi Blatt works through the idea of solitude and self-reflection. Why do we hold on to the things that we do? What about collecting them makes
us feel secure? The artist explores these themes through objects and ideas collected from the spaces she inhabits.
L.A. Bonet’s immersive installations tackle oppositions through music, painting, sculpture, and theater. These installations illustrate stages of grief and the humorous anxiety of alternative facts.
De’Ana Brownfield explores Afrikan mythology and the narratives of women from the Afrikan diaspora as embodiments of God and reincarnations of ancestors. Through painting and Afrikan traditional dyeing methods, she investigates decolonization and reclaims Black bodies as divine.
Carla Cardenas makes colorful paintings that reference her family and Latinx culture.
Lexi Castillo’s work reflects memories and experiences. Using plaster, metal, string and wood, she creates sculptural installations as a means to inspire compassion and connect differences.
Sarah Frances is captivated by the similarities between the human body and the earthly body, and uses her art to explore the patterns that spawn biological form. For Fault Lines, Frances uses photography, videography and plant material to explore change and perceptions of time.
Sloane Gershov’s sculptural and photographic work is a contemplation on the nature of the body and spirit in relation to time and place. She explores this duality primarily with metal and paper to create biomorphic sculptures which implicitly suggest the feeling of bodies.
Danielle La Fontaine explores her relationships with time, memory, a sense of self, touch, and home. Continuing her work with physical touch in the gallery space, she uses darkroom photography, paint, clay, and found objects.
Thea Moerman is a Jewish femme dyke artist. using traditional crafts and techniques such as natural dyeing, letterpress printing, and bookbinding. Moerman’s work examines Jewish ritual objects, the overlap of sexuality and spirituality, and cultural memory.
Raissa Palacios reflects on personal relationships with clothing. Through textile manipulation, design, and borrowed garments she embraces the ephemerality of cloth and works to deconstruct the boundaries between fashion and art.
Yana Sternberger-Moye makes colorful and vibrant paintings and sculptures that explores BDSM and healing trauma. In this work, BDSM becomes the container for self-discovery, play, catharsis, establishment of boundaries, pleasure, tenderness, honesty, safety, and the practice of care. Sternberger-Moye aims to show the beauty and affection that occurs between two people who are completely honest and vulnerable with each other.
Ellis Teare makes sculptures and installations around medieval myth and magic. Using a wide variety of materials such as metal, leaves, ribbons, and clay, she incorporates classic items and ideas from fairy tales and mythology, revised in her own way, and presented as whimsical yet serious.
Rowan Weir is a human in the Anthropocene epoch, invested in pursuing core primary elements and most basic components comprising complex systems. Through painting and sculpture, she discovers subtle fluctuations within perception, cognition, and memory: the mechanisms by which we process and relate to the elegant machinery of the universe.