2021 MFA Thesis Exhibitions
The Hite Art Institute is excited to announce this year's MFA Thesis candidates: Megan Bickel, Rachid Tagoulla, Katherine Watts, and Karen Weeks. Each student will display their work in an exhibition at UofL's MFA building in the Portland neighborhood, followed by a group show this Summer at the Cressman Center for Visual Arts.
MFA Thesis Exhibition Calendar
March 12-March 22, 2021: Katherine Watts, -rhiza
March 26- April 5: Megan Bickel
Friday April 9-April 26: Rachid Tagoulla and Karen Weeks
Katherine Watts MFA Thesis Exhibition
March 12-March 22, 2021
Reception: March 12, 6-8 pm
I employ various techniques such as printmaking, photography, videography, music and sculpture. I incorporate foraged Ohio River bank findings, which are then reassembled in unexpected ways. While there is an innate, accompanied romanticism and beauty associated with these objects, there is also a sense of regeneration and urgency.
My overarching intention is to create a polyphony of work that focuses on nature, memories, observation and abstraction. My hope is that the work evokes a kind of personal internal awareness of the ubiquitous relationship between nature and humans, so that the viewer's introspective questioning of this relationship can ensue.
Instead of simply presenting such realities, the implied Derridean approach to their complexity and instability might be better served by deconstruction; to attempt to discover the meanings within them. My intention is to accomplish this while retaining the sources of the relationship of abiding beauty and confliction. For more information please visit: katherinewattsart.com
-rhiza will be on view at the MFA Building 1606 Rowan Street Louisville, KY, March 12-22, 2021. A reception will be held on March 12 from 6-8 pm. Strict adherence to CDC Covid-19 Guidelines expected from any guests attending opening night. After opening night, viewing is by appointment only. To make a reservation please contact Katherine Watts
Image: Katherine Watts, Pure Gold, detail, courtesy of the artist
but also full of seeds for a future that could have turned out differently
Megan Bickel, MFA Thesis Exhibition
March 26 - April 5, 2021
M Bickel is meditating on two words as they relate to one another in our current moment: illusion and allusion. Specifically, this manifests by inquiring as to how we consume visual data, the probability of factual 'truths,' and cultivating safe, imaginative spaces for the viewer to conceive of ethically superior realities.
Illusion references a trick and has a visual connotation. The illusion is typically used to describe the realistically rendered image, its historical etymology tied to painting — and thus propaganda. On the other hand, an allusion is a literary device and, thus, depends on the viewer's imagination. Interestingly, there appears to be a contradiction in these two similar ideas that display a particular power dynamic between purveyors of visual and purveyors of written information.
Here, the power dynamic that Bickel is referencing can at times appear malignant. Meaning, for the illusion, that there is a historical power to deceive in a way that potentially appears psychologically threatening when considered by the viewer. The evidence of this threat doesn't appear in the allusion because in the act of reading a text, the viewer (or reader) is reliant on their imagination. Thus, all of the conjured imagery or ideas that arise during reading are contingent on what they have consumed prior.
Bickel has a tendency to lack loyalty to subject or material and is instead interested in conceptual misinformation and how that idea can be relayed. Topics that most influence her are those which confront us in the intertwined spectacle of journalism, political science, advertising and propaganda. Using the semiotics of Casualist and Post-Digital Painting, Bickel interacts with painting, textile, digital media, installation, and curation. At times appearing indecisive, she prefers to use surprise and subject appropriate media to offer the audience a summated opportunity to consider misinformation, specifically in the Digital Age.
The exhibition title is an altered quote by Terry Smith, Curator and Theorist (University of Pittsburg), from his essay on art critic and historian, Germano Celant, “Germano Celant: Companion to Art” published in Flash Art in the fall of 2020:
“Faced with an unfathomable future, even the most recent past began to look historical in two opposite senses: as if it were well and truly past, but also full of seeds for a present that could have turned out differently.”
Left:t_500x300_full_of_seeds-Recovered.jpeg, 2021. file with two paintings, sphereified watercolor paint, and the Wikipedia image paired with "commodity fetish." 48" x 52"
Right: The Incredulous Thomas, 2019. file with two paintings and Caravaggio's The Incredulous Thomas. 48" x 52"