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A Collective Curiosity Her Voice in the Arts

Lamont Gallery Virtual Exhibition - January 19 - June 6, 2021

A Collective Curiosity continues a yearlong recognition commemorating fifty years of coeducation at Phillips Exeter Academy. This virtual exhibition features Exeter alumnae whose works range widely in style, medium and in themes including ritual, memory, perspective and innovation. A selection of work by each artist along with her artist statement and links to additional content can be explored below.

Some artist statements have been shortened for this virtual exhibition. To view the complete statements, additional content, and to learn more about virtual programming, please visit the Lamont Gallery website.

Maud Bryt ‘83

“In my current work I use the simplest means to explore relationships between forms: ink, colors, paper, plaster. I find that a world of harmony and tension opens up in the play between a few simple forms and a few colors, and working toward a dynamic equilibrium is a good metaphor for life. I carry my watercolors wherever I go, and I use them to take notes from life to start a conversation on the paper.... The plaster sculptures are more involved in terms of time and technique, but it's the same form-to-form play.”

I Can't Listen, 2020, Plaster, 9"x6"x5"

Maud Bryt '83, Yesterday, 2020, Watercolor, 10"x14".

Maud Bryt '83 grew up the middle of five children in New York and New Mexico, always drawing, photographing, and making things. She went to Phillips Exeter and then Harvard University, worked as a fashion photographer for a few years, and then, with her husband, raised their daughters while painting and sculpting. In 2015 Bryt’s portrait of her mother-in-law won acceptance to the BP Portrait Award competition and was exhibited at the National Portrait Gallery in London.

Maud Bryt '83, Only Now, 2020, Watercolor, 12"x13"
Maud Bryt '83, I Was Planning A Garden, 2020, Watercolor, 11"x15"
Maud Bryt '83, In The Studio, 2020, Digital drawing, 8"x10"
Lindsay Packer ’91, Video still: Phase Space 20200508, 2020, Single channel video, color, sound, Total duration: 2 mins 25 sec

Lindsay Packer ‘91

"In performance, film and video, installations, and photography, I connect the visual language of painting to the kineticism of early cinema. With a spontaneous spirit, I bring moving imagery into real time and space. Luminous temporary geometries ride into perception as shadow forms that remain rooted to their architectural and sonic contexts. Site, movement, chance, and improvisation inform color and composition in all my work. I gather, activate, disassemble, and redistribute both physical and shadow forms, ultimately leaving no trace."

Lindsay Packer '91, Pass Thru, 2019, Light and found/re-purposed objects, Dimensions variable.

"My working process pre-supposes all the elements I require are already present in any given scenario and that it is my job to meet them with a non-hierarchical curiosity. In both analog and digital outcomes, I observe, scavenge, and play with color, physical form and light. I borrow ‘props’ from my work environment and activate them with light, color and movement – sometimes I use materials found in nature, but more often I use ready-mades like furniture or plywood or even digital default settings. I establish through my actions a new vocabulary of form, an ephemeral language of shape and movement unique to time and circumstance."

Lindsay Packer '91, Phase Space, Part 6, 2020, Light, found objects, Dimensions variable.
Lindsay Packer '91, Puzzler, 2019, Light and found/re-purposed objects, Dimensions variable.

Lindsay Packer '91 plays with the call and response of color and light, form and site in performance, moving imagery, and architectonic interventions. A Fulbright Fellow to India in Installation Art and two-time Artist-in-Residence at the Josef and Anni Albers Foundation, Packer received a BFA from the Rhode Island School of Design and an MFA from the School of the Art Institute of Chicago. She was awarded a 2019 NYSCA/NYFA Artist Fellowship in Architecture/ Environmental Structures/Design for her work across disciplines and was a 2019 Artist-in-Residence at ISSUE Project Room (Brooklyn, NY).

Lindsay Packer '91, Performance still: light work, 2020, Zoom screenshot, Recurring remote performance
Millicent Dunstan ’15, Plastic World Process Page, Spring 2019, Mixed media. Jacket Transformation Process Page, Spring 2019, Mixed media.

Millicent Dunstan ‘15

“These images of my work represent my world and thought process as I strive to create garments that are less harmful to the environment. My methods of construction take from what already exists and my inspiration stems from punk and countercultural fashion. I approach my work with a do-it-yourself attitude and a goal to subvert the norms of mainstream fashion.”

Millicent Dunstan ’15, Plastic Fantastic Jacket & Pant, Spring 2019, Upcycled fabrics, bubble wrap, plastic bags, electrical tape, upcycled chains. Photo credit: Ben Lucas Jones
Millicent Dunstan ’15, Patchwork Jacket & Pant, Spring 2019, Upcycled fabrics & parachute material, upcycled chains & rope. Photo credit: Ben Lucas Jones

Millicent Dunstan ’15 is a New York based designer and fine artist with a BFA in Fashion Design from Parsons School of Design. She has experience in a variety of creative areas from fashion and graphic design to styling, modeling and art direction. Her work exists in the world of subversive fashion and sustainability. She has been featured in Urban Outfitters, Milk Studios, Nicotine Magazine, The Cut and more. She continues her work through her brand, Mindblown with her partner Ben Lucas Jones.

Millicent Dunstan ’15, Doll Parts Top & Pant, Spring 2020, Upcycled fabrics & garments. Photo credit: Ben Lucas Jones
Candy Chang ‘95, Before I Die, 2011 – present, New Orleans and worldwide (over 5,000 walls globally), Chalkboard paint, spray paint, chalk, Various sizes

Candy Chang ‘95

“There is a war on our attention. Each day we’re bombarded with so many distractions that it’s easy to neglect our emotional health. As the world has felt more uncertain, more tribal, and more alienating, I often find myself feeding my worst habits and yearning for rituals to help restore perspective. This has led me to think about the future of ritual in public life—new ways we might find emotional communion with one another, to remember that we are all walking wounded and that our shared struggles and desires far outweigh our differences.”

A Monument for the Anxious and Hopeful, 2018, New York, New York, Vellum, wood, acrylic, ink, 31'x12′

Candy Chang ’95, Light the Barricades, 2019, Los Angeles, California, Chinese ink, photomontages, solar panels, aluminum, polycarbonate, vinyl, LED lights, hourglasses, and concrete, 8 x 27′x 3′. Confessions, 2012 – present, Las Vegas, Nevada; Athens, Greece; London, UK; Minsk, Belarus; San Diego, California; Tucson, Arizona, Wood, aluminum, acrylic on canvas, string, fabric, ink. (Click image to view larger)

Through the activation of public spaces around the world, Candy Chang ‘95 creates work that examines the dynamics between society and the psyche, the aesthetics of handwriting, and the value of anonymity in a performative age. Trained as an urban planner, she channeled her emotional questions into her work after struggling with grief and depression. Her participatory public artwork Before I Die reimagines our relationship with death and with one another in the public realm, and has been created in over 5,000 cities worldwide. Her most recent work, Light the Barricades, is a series of electrified shrines for contemplating inner obstructions and will be traveling to The Mint Museum in Charlotte, North Carolina in 2021. She is a TED Senior Fellow, Urban Innovation Fellow, and World Economic Forum Young Global Leader. Her work has been exhibited in the Venice Architecture Biennale, Tate Modern, and Museum of Modern Art.

Light the Barricades, 2019, Los Angeles, California, Chinese ink, photomontages, solar panels, aluminum, polycarbonate, vinyl, LED lights, hourglasses, and concrete, 8 x 27′x 3′ d each (series of three)

Barbara Rita Jenny ‘84

Dura Mater—the literal translation from the Latin being ‘Tough Mother’—is the outermost, protective lining of the brain. It is also what I call, and how I categorize, my current body of work. Laser-cut reliefs that reconstruct astroglial brain cell forms into lacey orbs. Digital prints of the voids between those forms that morph into mono-chromatic continents. All mixed media output created from the input of downloaded open-source high-res brain microscopy.

[The] symbiosis of art and science, cross-fusion of Baroque and high-tech aesthetic, and intertwining of innovation with hope — bolstered by the buzz of maternal anxiety — is what drives this Tough Mother work. Worried research about Alzheimer’s for my mother, OCD/PANS for one son, and ‘mental’ health for the other, seeped into my studio time and then into the work itself.

My studio process has become an amalgamation of fierce love combined with obsessive curiosity, and the compulsion to do something when told nothing can be done. The work is now an effort to understand the misfiring, inflammation, and deterioration involved in the specific brain disorders and diseases that have beset people I love. A desperate effort to make sense, make order, cut and realign and paste, and somehow heal with this busy-ness, this placing of ephemeral bandages on invisible wounds. Knowing always that solutions and our evolution lie not wholly in the fixing or surmounting of human flaws via technology, but in embracing — with awe! — our imperfect humanness while we harness science and technology to save us.”

Astroglial (re) alignment, 2019, Laser-cut hand-chromed PET-G, 48"x48”.

Barbara Rita Jenny ’84, Astroglial (re)constellation, 2020, Detail installation at Roux Institute Northeastern University, Portland ME, Lasercut hand-chromed PET-G, Approx. 6’ x 18’

Barbara Rita Jenny ‘84 is a digital media artist and art educator. She is a recipient of numerous awards and grants, including the coveted NH Charitable Foundation’s Artists Advancement Grant. Jenny is an arts and community advocate, having served on Portsmouth, NH’s first Blue Ribbon Committee for Arts & Culture, co-founding the Islington Creek Neighborhood Association, and coordinating the Rock Street Park stage project—one of the first community art projects in Portsmouth. In 2009, Jenny established an artists’ residency program in Nova Scotia to support artists from Maine College of Art (MECA).

Barbara Rita Jenny ’84, Astroglial Body, 2019, Hand-chromed PET-G, 80”x48”. Limbic Layers (study), 2019, Inkjet on rag paper, 8”x8”. Limbic Twist, 2019, Hand-chromed PET-G, 48”x40”. (Click image to view larger)
Kate Gridley ’74, Hieroglyphs, 2019, Oil on linen, 12” X 34”

Kate Gridley ‘74

“Old agricultural tools; blacksmithing tools; woodworking tools; kitchen tools… My studio is full of tools and voices.

The tools are worn, stained, wooden handles smooth and shiny with the patina of oil from hands and use. There is a small pitchfork rusted into boney wire fingers; there are handmade planes, drill bits, augurs, tiny saws, pliers, black-smith tongs. There are kitchen tools from an ancient relative in Wisconsin, and others sent by friends far and near. I marvel at the shapes and colors, the shadows cast, the play of light on different surfaces. Who held these tools, who sculpted the dwellings and the land, farming, logging and mining it into its current habit? If the tools could speak, what stories might they tell?

One of the tools is completely reconfigured: a file that has been fashioned into a chisel is attached to a handle made of a small forked branch that fits easily—comfortably—into the palm of my hand. Imagine the excitement at the discovery that the tool fits the handle that fits the hand—as an anonymous woodworker puts it together for themself; unique, personal, random. In the company of other machine cast tools, this tool stands apart, a ‘sport’ in the biological sense, which is to say, ‘an animal or plant showing a striking variation from the parent type, especially in form or color as a result of a spontaneous mutation.’

I learned the biological definition of ‘Sport’ in a histology and cytology course at Exeter in 1973, back when I thought I would be a biology major. The original desire to understand how things work, form and function, still informs much of my observations and meditations through the crucible of drawing, pigments and oil.”

Sextet, 2019, Oil on linen, 20” X 20”

Kate Gridley ’74, The Sport, 2020, Oil on linen, 20" X 38”

Known for her insights into human character, the quality of light in her work, and her painting technique, Kate Gridley '74 maintains a studio in Middlebury, Vermont, where she has lived and painted full time since 1991. Awarded a Hutchinson Memorial Fellowship for Painting on graduation from Williams College in 1978, Gridley pursued her studies in New York City before moving to Florence, Italy for a year and a half of full-time study of renaissance painting techniques. She began exhibiting regularly in New York and New England, starting in 1983. Gridley’s paintings are in numerous private collections in Europe and across the United States.

Kate Gridley ’74, Alchemy, 2018, Oil on linen, 20” X 38”
Kate Gridley ’74, On Point, 2020, Oil on linen, 24” X 60”
Dustan Knight ’76, High Tide, 2020, Mixed media, 30” x 60”

Dustan Knight ’76

“My artwork is personal. I paint what I know, and what I feel about it. I chose these artworks because they are messily romantic, emotionally charged, landscapes of where I grew up and still live. My studio is on New Castle, an island, 15 miles down the road from Phillips Exeter Academy. I was a day student at PEA and commuted between home and the challenge of the classroom. The landscape of this little island was a sanctuary from the stress of growing up. It continues to be important.

Thematically the familiar granite shores, deep woods and ocean offer a reflective, mobile, metaphor for my experiences. The tangled surfaces, vacillation between transparent and opaque, quiet and chaotic, knowing and unreadable — the fundamentally physical materiality in my work — expresses my feelings. I am intent on creating a feeling — not an idea — not a story. The feelings are shared visually. I guess I would hope that someone looking at these works would ask — ‘what do they make me feel…’”

Dustan Knight '76, Cold Tide Pool, 2020, Mixed media, 24”x16”
Dustan Knight ’76, Bright back Channel, 2019, Mixed media, 36”x36”
Dustan Knight ’76, Ocean Sunrise, 2018, Mixed media on panel, 48”x60”

Dustan Knight ’76 is a professional artist and Art professor (ret). She was a day student in the early days of coeducation at PEA where she spent her time in the day student common room and the library. She attended Duke University for undergraduate and Pratt Institute of Art for graduate studies followed by Boston University for her Masters in Art History. Knight taught studio and art history for twenty years and currently works full time in her studio.

Dustan Knight '76, High Tide Mark, 2020, Mixed media, 24”x16”
Elizabeth Gardner ’83, Fire on Ice, March 15, 2019 6:56 pm, Photograph, 20"x26.6”

Elizabeth Gardner ‘83

“I walk, take photographs, write; I can’t do one without the other two. There’s been no better way for me to stay grounded and keep moving through the tougher stuff of life than to just get outside for a walk — and trust in the simple magic of ordinary things, the rhythms of the natural world, and the wisdom of trees. … I chose these five images out of the thousands I’ve taken over the past several years mostly because of the way I remember feeling when I captured each of them. I remember what was swirling in my head, my heart — the softening I experienced in each moment as I stood transfixed by a certain kind of light as it hit the water, illuminated the barn, the skies, me.

I don’t own fancy camera equipment. If I did, I might lose the spontaneity of my captures, the way I see. I’ve used three different iPhone cameras to take these images, tucked into a pocket as I’ve set off to clear my head, chase a rainbow, lose myself in the eloquence of the concrete. I often visit the same spots over and over again, enabling me to notice the tiniest, subtle shifts and quiet harvesting of the season as the landscape is once again tenderly transformed into something new. Each time different — echoes of myself, and back again.”

Elizabeth Gardner ’83, Summer Solstice, June 23, 2015 8:19 pm, Photograph, 20"x26.6”. Sunrise Barn, December 1, 2019 6:40 am, Photograph, 20"x26.6”. Sunflower Barn, August 10, 2020 8:00 pm, Photograph, 20"x26.6” (Click image to view larger)

Elizabeth Gardner ‘83 started walking and writing to reframe her world when she was very small. An Exeter/Williams grad, Gardner has spent much of her adult years happily immersed in the intersection of the educational and natural landscape, teaching creative movement and dance, designing curriculum and nature-based enrichment programs for schools and local families, homeschooling her two sons, and working as a content creator, writer, educational consultant, and tutor. After a breast cancer diagnosis hit in 2008, Gardner returned to the things that had sustained her as a child — walking long miles, communing with the natural world, taking photographs, and writing about her experience in her Flip Side of Forty blog. Ever since, the world has shimmered with a new kind of beauty and urgency. She published Here. In the Undertow of Wonder in early 2020 and runs FlipSwitch Coaching, working with college-bound students and small businesses to help them unearth their stories and discover their most authentic selves.

Elizabeth Gardner ’83, Pandemic Spring, April 19, 2020 7:40 pm, Photograph, 20"x26.6”

Evie Lovett ‘84

“Since 2015, I have been making public art informed and inspired by the nearby Connecticut River. In my encaustic work I found myself incorporating patterns that I saw and photographed, as well as a feeling of both ease and peril that I felt when I was on the river. I sensed the patterns of freeze and thaw of the river in myself, in my relationship to my work and to the world around me. I spent days at the Brattleboro Historical Society researching historical photographs of the Connecticut River, mesmerized by glass plate negatives of minuscule figures skating on the long-ago frozen river – a river that rarely freezes over now. Forgotten people. Long-gone time. I wove these thoughts and threads into the work in the encaustic studio."

Thaw #45, 2019, Encaustic and mixed media on panel, 12”x12”

Evie Lovett ’84, Thaw #16, 2018, Encaustic and mixed media on panel, 10”x10”
Evie Lovett ’84,Thaw #44, 2019, Encaustic and mixed media on panel, 16”x16”
Evie Lovett ’84, Thaw #77, 2020, Encaustic and mixed media on panel, 10”x10”

Evie Lovett ’84 is an artist, teacher, teaching artist, photographer, Vermont Folklife Center media educator, facilitator of story sharing, encaustic painter, collaborative maker of public art, dedicated to connecting people to each other and place through art, story, and active participatory engagement.

Thaw #78, 2020, Encaustic and mixed media on panel, 10”x10”

Tiffanie Turner '88, Split Rose, 2020, Paper mâché, Italian crepe paper, stain, 29" x 34.5" x 20". Photo credit: Shaun Roberts Photography

Tiffanie Turner '88

“I create large and small scale botanical based sculptures, meditations on our tolerance of aging and imperfection, on what we consider ugly and what we consider beautiful, and on the high cost of these pursuits on our society and the natural world. Through the heads of flowers, I study environmental and social issues, using representational art to express conceptual ideas, as the natural world is so accessible to most humans it provides an easy ‘in’ to explore the themes of the work more deeply.

The two roses included here also explore the idea of embracing imagery of female body parts (genitalia, curves, weight, etc.), and the conditions that can afflict them. Although these pieces make me blush, they are a reflection of the real flower specimens they were modeled after.”

Specimen C (Ranunculus), 2019, Paper mâché, Italian crepe paper, stain, 33” diameter x 19" deep. Photo credit: Shaun Roberts Photography

Tiffanie Turner '88, Three Chrysanthemums, 2020, Paper mâché, Italian crepe paper, stain 43.5" x 48.5” x 23”
Tiffanie Turner '88, Specimen G (Prolapsed Rose), 2019, Paper mâché and Italian crepe paper, 25”x 22"x 12.5”. Photo credit: Shaun Roberts Photography

Tiffanie Turner '88 was raised in the woods of New Hampshire. She received her Bachelor of Architecture from Rensselaer Polytechnic Institute in 1995 and worked as an architect for over 15 years before beginning her career as a botanical sculptor. She has had solo exhibitions at Eleanor Harwood Gallery, Saint Joseph's Art Society, Rare Device, and the Kimball Gallery at the de Young Museum in San Francisco, at which she attended a month-long artist residency in 2016. Her work has been written about in the New York Times T Magazine, Gardens Illustrated, Vogue, and the San Francisco Chronicle, among others, and was recently featured in the new book Flower; Exploring the World in Bloom from Phaidon Press. Turner is also an instructor in the art of paper flower making in the United States and abroad, and is the author of The Fine Art of Paper Flowers. She lived in San Francisco for over 20 years before moving to Fairfax in west Marin County, California, where she currently lives with her husband and two children.

Orchid Vignette, 21st Century, 2020, German crepe paper, glue, wire, floral tape, stain, chalk, ribbon, 24.5" x 18" x 18"

Rebekah Wostrel ’87, Rock Stack Cups, 2017, Porcelain, 5” x 3” x 3” each

Rebekah Wostrel ‘87

“My functional ceramic work is informed by the traditional Japanese aesthetic of wabi sabi, characterized by simplicity, intimacy, and refined imperfection. I want my pots to feel good in the hand and be easy to use. It’s my hope that people who engage with them experience a sense of connection and comfort—that my pots ‘make special’ the everyday-ness of daily use.

Big Binks, is a collection of over-sized porcelain pacifiers. Some of them hang on the wall at eye-level, others are freestanding. Some of the pieces mimic the simple bulbous pacifier, others are subtle subversions of the form—pointy, angular and planar. The surface treatments include etching, piercing, encaustic, and felted angora. The rings are forged iron and rubber-coated stainless. Sometimes the combination of materials effects a tension or dissonance, where surfaces are in part welcoming and even delectable—but also (a la Meret Oppenheim’s Fur Cup) off-putting.”

Double Ring Bink, 2015, Porcelain and steel, 6” x 4” x 4”

Rebekah Wostrel ’87, Petals 2 Bink, 2015, Porcelain, steel and encaustic, 7” x 5” x 5”

Rebekah Wostrel '87 was born and raised in Gloucester, MA and holds an MFA in Ceramics from Pennsylvania State University and a BA in Anthropology from Smith College. She’s exhibited her work at museums and galleries internationally and received numerous grants including a Pennsylvania Council on the Arts Grant and a Fulbright Fellowship to Indonesia where she studied ceremonial terracotta wares, and worked with potters and offerings experts in Ubud, Bali. Rebekah has taught at Princeton University and The University of Pennsylvania and is currently a resident at the McGuffey Art Center where she teaches clay and design classes for all ages. She is the founder and director of the Mobile Art Share Initiative (MASI) – an outreach program that brings art experiences to Charlottesville elementary school children and refugee families. She’s currently partnering with International Neighbors, raising funds to provide hands-on art workshops and exhibitions for refugee kids in the Charlottesville area.

Petals 1 Bink, 2015, Porcelain, steel and encaustic, 7” x 5” x 5”

Rebekah Wostrel ’87, Circuit Bowl, 2017, Porcelain, 3” x 7” x 7”

Anne Fishbein ‘76

"My photography is rooted in the real world as part of the tradition of documentary photography. The real world evolves. It changes and this interests me both as a thoughtful concept and as a photographic study. My photographs look at the real world, how it is gradually altered and how it references its past. My projects do not have an end point unless the idea itself completely disappears. I continue to add to all the projects. What I’ve ended up with is an interesting archive of images which allows me to ponder the way places change over time or blur the indictors of the photograph’s date of origin.

The Racetrack Project, Photograph

Anne Fishbein ’76, The Racetrack Project, Photograph

The Racetrack Project, in standing with the rest of my projects is a work in progress. It is not finished so what I present is a representative sample of what I have to date. The culture of horse racing and its anachronistic environment has presented a great photographic opportunity for me.

Anne Fishbein ’76, The Racetrack Project, Photograph

This project began to come together in Southern California one day through a casual trip to the track with friends. On that day, I was struck by a kind of suspension in time that I observed. Consequently, I was compelled to shoot more than usual and in so doing experienced something very rare that has persisted throughout the project. Something that is no small issue: people didn’t seem to mind when I photographed them. They didn’t even notice. I was invisible. I was finally a fly on the wall –every documentary photographer’s fantasy. What this phenomenon means is I can observe and create images of what is really happening in the moment. What was and is happening at the track is a culture long ago established, diminishing in its grandness and popularity in an environment decades old, frayed around the edges but still compelling its followers to maintain the style and tradition to some degree the way it always has been. I have felt an increased urgency to pursue this fading culture because as Tom Pedulla put it in USA Today 'Once the sport of kings, horse racing is now galloping toward uncertainty.' The racetrack, although its future is uncertain, is a great place to study humanity."

Anne Fishbein ’76, The Racetrack Project, Photograph

Anne Fishbein ‘76 received a B.S. in communication from Northwestern University and an M.F.A. from Yale University. Anne Fishbein continues to work on projects both with film and digitally while earning a living through a combination of editorial and corporate assignments and teaching. Her monograph On The Way Home was published by Perceval Press.

The Racetrack Project, Photograph

Rose Klabin ’96, Suspension, 2016, Video stills

Rose Klabin ‘96

“In artworks that employ mixed photographical technique, sculpture and installations, I investigate the conflicts between opposites: rise and fall, nature and industry, man and machine, in order to expose the cyclical, co-existent movement of dependence of these elements.

In Sutartine, my last exhibition, I reflect upon the dual character of human existence and the necessary agreements to exist in harmony. The word Sutartine has its origins in Lithuania – homeland of my family – and designates an ancient polyphonic chant composed and sung by women only, in which the voices match and mismatch each other. Sutartine means, therefore, an agreement: a harmonic coexistence between two distinct elements. When entering the exhibition, the visitors will see a set of five sculptures of female bodies opposed to industrial gears. As the visitors walk through the sculptures, they will listen to the Sutartine, a Lithuanian chant, that attains a meditative sonority. Surrounded by this sound, in which the voices mismatch in perfect harmony, the female figures remain resilient in face of suffering.”

Clockwise from top: Rose Klabin ’96, Ammendments, 2020, Digital print on cotton paper, wool threads, 100x80 cm. Sutartine 3, 2018, Reconstructed marble and mixed media, 105x80x55 cm. Sutartine 6, 2018, Reconstructed marble and mixed media, 80x60x110 cm (Click image to view larger).
Rose Klabin ’96, Endoscopy 4, 2013, Watercolor and digital print on cotton paper, 80x80cm

Rose Klabin ‘96 obtained her master’s degrees in visual arts from the Saint Martins School of Art in 2006 and from the Byam Shaw School of Art in 2005 – both in London. She held solo exhibitions in São Paulo, Rio de Janeiro, New York, Miami, Israel and London. Her works are present in private collections such as that of Agnes Gund, James D. Robinson III and Aldo Cossuta, in New York; in the BGA-Brazilian Golden Art Collection (BGA-SP); and in permanent public collections, such as that of Instituto Moreira Salles, in Rio de Janeiro. In October 2019 she had a solo exhibition in the Museu de Arte Moderna Aloísio Magalhães – MAMAM, Recife, Pernambuco.

Elizabeth Kostina ’20, Gigi Portrait, Hairlines, 2020, Photograph

Elizabeth Kostina ‘20

“It has become easier than ever to present idealized versions of ourselves to the public, but these idealized identities can become spectacles, performances for others as opposed to reflections of our true selves. The pressure to pass for a mainstream identity (e.g. cisgender or heterosexual identity) is significant. People must adhere to certain mannerisms to be validated by the dominant culture, perhaps by speaking, dressing, or behaving so that their difference is downplayed. Throughout these code switches, the body and hair remain relatively permanent. To change your hair is to make a conscious and curated act of presentation.

Hairlines aims to harness, explore, and subvert exploitation of a largely existing and visible phenomenon: queerness, an umbrella term for individuals who are not heterosexual or straight. Hairlines focuses on the curation of the external and mental relationship between a person’s hair and their gender and/or sexual identity, providing an alternate and more candid view of queer identities by subverting the idealized selves we see on social media. Without makeup, product, accent, or fancy equipment, subject and photographer work together to present the ideal self: each unfiltered subject as they are.”

Elizabeth Kostina ’20, Audrie Back, Hairlines, 2020, Photograph
Elizabeth Kostina ’20, Grace Moving, Hairlines, 2020, Photograph

Elizabeth Kostina ’20 is passionate about interdisciplinary practices and modes of architecture and storytelling through the intersections of neuroaesthetics, linguistics, and architectural theory through the mediums of documentary portraiture, film, theatre, origami. She focuses on the designing of and the design of Systems as well as the bodies created within them and the responses generated to. She currently works at Hume as a researcher at their Human Metrics Lab and as the Assistant Editor in Chief at the Centre for Conscious Design. She is the founder of neoclassic media and contributes to the Love To All project as the events coordinator.

Elizabeth Kostina ’20, Sam C 1, Hairlines, 2020, Photograph
Elizabeth Kostina ’20, Sam C 2 Footage Still, Hairlines, 2020, Photograph
Wendi Yan ’18, Fundamental Isolation, 2020, Video, 3’04’’

Wendi Yan ‘18

“In this set of work, I blend my personal experience and imagination, and explore the possible relationships between the self and the non-self. What draws the boundary between what we think is ‘inside’ us and what is ‘outside’ us, what ‘belongs’ to us and what does not? Through both visuals and audio, I build virtual worlds in the digital space that embodies my subjective experience and musings on the self.

Fundamental Isolation is primarily an audio experience in which I sought to express how it feels for me to be trapped in my own consciousness. This is what I see as the fundamental isolation universal to all human beings: the subjectivity and the agency we inevitably feel, which came with the package of life no one ever subscribed to.”

Wendi Yan ’18, Kute Kingdom, 2019, Virtual environment

"Kute Kingdom imagines a world in which citizens meditate together on the Cute to power the central statue with their collectively generated brainwave. It is a chimera as well as a fever dream about togetherness and belonging. When a world meditates and enters the delta state, when the brainwaves at this state power the world, which layer of reality do the citizens dwell in?"

Wendi Yan ’18, Kute Kingdom, 2019, Virtual environment
Wendi Yan ’18, MasC, 2019, Virtual environment

"MasC, in some way, appears to be the opposite of Kute Kingdom. Instead of surrendering one’s subjectivity to a collective consciousness, MasC presents a world in which one’s individuality is vigorously celebrated. Yet, there is an ironic undertone for the capitalism that perpetuates this celebration of ‘wearing your individual expression’ -- is it really your desire, or one manufactured and fed to you with the mask of ‘your own’? Though presented as a virtual environment, MasC could well find itself a mirror to many aspects of our real-life experiences."

Wendi Yan ’18, MasC, 2019, Virtual environment

Wendi Yan ‘18 is a new media artist and filmmaker based in Princeton and Beijing. She utilizes 3D game art software, video and projection to create experiences that interrogate the construction of our sense of self and identity. With new media art, Wendi often constructs speculative worlds that explore the boundaries of self-consciousness. With documentaries, Wendi looks for the boundaries of culturally-shaped identities in her life. Wendi Yan currently studies at Princeton University where she concentrates in History of Science with certificates in Visual Arts and Architecture and Engineering.

Alexandra Grounds ‘17

“This work has been made over the last few months, and mostly during the most intense parts of quarantine. It reflects the shift in myself, from looking outward onto the people and city around me for inspiration, to now forcibly looking inward and finding inspiration within. The work represents the times, the uncertainty, and the self-reflection of 2020.”

Golden Ticket, Quarantine Series, 2020, Oil on linen, 30”x24”

Alexandra Grounds ’17, Sanctify, Quarantine Series, 2020, Oil on linen, 30”x24”. Cowgirl Up You Made it to Mars, Tongue Tied, 2020, Oil on canvas 20”x16” (Click image to view larger)

Alexandra Grounds ‘17 is an American oil painter from Arizona, currently studying at Columbia University and specializing in large scale portraiture. Her portraits, often depicting classic iconic females and peers, aim to rework the patriarchy towards equality and female self-representation. As a young woman in our social and political landscape, the discussion of objectification, over-sexualization and inequality has driven some of her most well-known pieces. Grounds’ painting is her form of resistance, of activism, of empowerment - while embracing her own female sexuality. The artist currently has work displayed at the World Trade Center, with additional exhibitions in multiple galleries nationally.

Alexandra Grounds ’17, To the Woman Who Changed the World, Ruth Bader Ginsburg, RBG x Birth Control Pills, 2020, Oil on linen, 40”x30”
Alexandra Carter ’04, Astaxanthin, 2020, Ink, image transfer and variegated gold leaf on drafting film, 52”x72”

Alexandra Carter ‘04

“The cranberry, a tart, highly pigmented fruit, is a symbol of personal identity. Having grown up on a cranberry farm in New England, my life is intimately tied to this berry, which represents both abundance and fecundity but also tension with the patriarchal family hierarchy. The berry is a repeated icon in my visual lexicon: the fruit is like a garnet ambrosia, an exalted potion that seeps through my paintings and intoxifies its subjects. Photographs of berries and botanical illustrations replace and adorn parts of the female body. Breasts become globular appendages that bubble up, guzzle down, shrivel, leak, and lactate. Made with layers of puddled pigment and collaged imagery on translucent drafting film (a.k.a. mylar), my paintings mimic explosive, liquid bodies splashing out of their own skins. Influenced by folklore and mythology, I quote deities of jest, filth, lust, and light. Women embody the celebratory nature of the harvest alongside a certain burlesque attitude, performing a sumptuous dance between maiden, mother, and crone. Wanton figures of myth and fairytale embroil themselves within the monstrous feminine and the maternal grotesque.”

Alexandra Carter ’04, The Passion of New Eve (for Günter 1964), 2018, Ink and image transfers on drafting film, 81”x61”
Alexandra Carter ’04, Skinnamarossa mimosa oncini, 2019, Ink, image transfers and gold leaf on drafting film, 55"x47”. Winnie’s Lair, 2020, Ink, image transfer and gold leaf on drafting film, 35”x23” (Click image to view larger)
Alexandra Carter ’04, Venus of Lespugue, 2020, Ink and image transfer on drafting film, 48”x 25”

Alexandra Carter '04 lives and works in San Diego, California. She received an MFA from Goldsmiths University of London in 2015 and a BA from Rhodes College in Memphis in 2009. Recent solo exhibitions include A Sense of Heat in Her Brain at Luna Anaïs Gallery Los Angeles (2020), Berries for Baubo (2019), and All gods are hot (2018) at Radiant Space Los Angeles. She has been selected for residency projects nationally and internationally, including KulturKontakt Austria (Vienna), Qwatz (Rome), Graniti Murales (Sicily), Vice~Versa Foundation (Goa, India), RECSIM (Jashipur, India), Galerija-Muzej Lendava (Slovenia), the Kentucky Foundation for Women, and a forthcoming residency at Saari in Finland.

Brittany Otto '08

“Art is my language. Words often fail me, but the images I create allow me to speak clearly and honestly about what I feel. The challenge of transforming the hard, cold medium of paper into soft edges and warm lines provided me with an endless series of puzzles. I cut every line by hand, a process as complex as it is organic that makes the art feel timeless and meditative. The lighting is the capstone. I find it fascinating and liberating to rely on light to imbue my art with life and color. My work shines brightest when surrounded by darkness. For these pieces I sought to explore intensely personal topics including my own struggles with mental health.”

A Private Hell, 2020, Hand cut watercolor paper, vellum, and LED lights, 10" x 10" x 4.5

Brittany Otto '08, The Selkie, 2018, Hand cut watercolor paper, vellum, and programmed NeoPixel LED lights, 16"x 20"x 3"
Brittany Otto '08, Kites, 2019, Hand cut watercolor paper, vellum, and LED lights, 6"x 14"x 1.5"

Brittany Otto '08 was born in Lee, NH and graduated from Phillips Exeter Academy in 2008. Though the art classes at PEA were some of her favorites, she dedicated herself to studying biology and environmental sciences in college. During her junior year of college, she realized she felt creatively unfulfilled and missed working with her hands. In 2012 she moved to Seattle, WA with her now husband Ian Otto (‘09) where she explored a plethora of artistic media through practical experience, trial and error, and self-study. Since 2016, she has been working with hand cut paper sculpture and light to create portals into fantastical worlds, pulling inspiration from her love of the natural world and fantasy. To date, her work has been featured in local Seattle galleries and the book Odd is Art published by Ripley Publishing.

Brittany Otto '08, The Longing Bones, 2019, Hand cut watercolor paper, vellum, and programmed NeoPixel LED lights, 11"x 14"x 3". Headspace, 2019, Hand cut watercolor paper, vellum, and LED lights 8"x 8"x 1.5" (Click image to view larger)
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