Aubry's Statement

It is my hope as an artist to challenge the viewer. I am not sure that what I create is art, but rather I believe that I create opportunities for art to be discovered. Making a video is only half of the challenge. I believe that in order for the art to be successful, the viewer must not just be subjected to the art but to experience it and be an active participant in it's creation and existence. 

As an artist I attempt to not go into a project with intention much in the same way I hope a viewer does not experience my work of art with a preconceived idea of it's meaning or content. I think that predetermining intentions in a work of art is manipulative and selfish. I believe an artist should be collaborating with his or her audience, not creating for the audience and to go into the work with intentions puts the artist and the audience on different playing fields which is unfair.

Michael's Statement

As an artist, I wish to capture the images less captured. I do not mean this in

the (for lack of a better term) cliché way of showing the less fortunate, those living

in poverty or in third world countries. Rather, I would like to show an audience

some of the mundane practices of everyday life, and then dissect them for what they

can really mean for the average person. I prefer to approach filmmaking with a

more documentarian method in mind: showing the realistic from as unbiased of a

view as possible. I truly believe that this is the most natural and effective way of

presenting new media.

Sarah's Statement

Projection, reflection, repetition, inversion, and reversal have all been consistent formal and conceptual elements of my work. These things all have an effect on perception, and disrupt our expected notions and assumptions about objects and spaces. I often begin with a process of examining the assumptions that I make about the environments and objects around me. Often, a simple shift in how I choose to define something provides fertile territory for exploration. My work is an ongoing attempt to create a real space in which fictional worlds can exist. I make installations, short films and videos that immerse the viewer in a space, and often due to the universally recognizable imagery of these spaces, (a sea-side village, a desert landscape) these works seem to operate somewhere between the personal memory of a place and the collective memory gained through cultural representation of a place.  I strive for a simplicity within my work, and my methods are very intuitive. I'm interested in finding ways to give film and video a physicality, whether through installation, projections, or approaching filmmaking site-specifically. For me, film and architecture are very related. The permeability of a building is often overlooked, but walls, floors and ceilings often provide only a thin barrier between us and the movements and noises of our family, or neighbors. I believe my ability to block out the movements of my neighbors is linked to the suspension of disbelief on which film is dependent. 
In And Then, You Act (New York, NY: Routledge, 2007), theater innovator Anne Bogart quotes Romanian director Andrei Serban as once saying, “[Theater] does not really happen on the stage. It happens in the audience’s head.” The ability of the human mind to internalize both illusion and reality with the only real difference being how they are each contextualized is at the root of my work.

Ipek's Statement

The universe,
large in an absolute way, conveys a distinct perspective from those developed more
familiar on earth. Yet, the richness of the content that fills earthly perspectives can
be just as rich and sometimes even richer. If we go even further, to specific materials
such as a picture, the composition of the material is infused with content that alters
the perspective developed from the experience of viewing it. In this sense, we can
see the power that content has in altering perspectives, no matter the size, from the
vastness of the universe to the visually imperceptible qualities of a content-filled
atom.

Matt's Statement

“Art is why I get up in the morning…”(Ani Difranco) encompasses the spirit of what, why and how I create. Whether it be meditational, musical, photographic, animated, moving image, or digital composition with each piece I am not only communicating about the world around me but also my place in that world. I am constantly seeking and gaining new knowledge and my creative endeavors are no exception to this process. Meditating on a specific piece of music to inspire an action painting, investigating medical conditions to communicate visually the concept of repetitive use of a singular body part, or manipulating analog and digital projections in the same space and time are all examples representing what it is to be, think like, and feel like Matt Swift at that time, in that specific situation, which is not only the experience of single unique human but also of an interconnected singular humanity. The world has more people than anyone can concretely perceive and by creating art that embodies my existence, that existence becomes something larger and more complicated than the number that was given to me at birth.

Roni's Statement

Without being entirely assumptive I am going to say any art created is a statement of the artist who created it. Art is communication. Some art is so loud and clear that it can be heard and seen from space, and other art is as subtle as a bead of sweat dripping down your forehead. For example, a painting’s brushstrokes on the surface indicate a subject matter’s color, form and texture. It is also an indication of an artist’s working speed, the pressure that they are applying to the surface, etc. There are people who know enough about Jackson Pollocks painting style to determine his style of drips as opposed to another person painting in the same style. I think every artist has experienced a moment where they have taken a step back from what they have created and learned something new about themselves.

Jessica's Statement

I find myself drawn to simple overlooked beauties; the bare human figure, the mark of a pencil or piece of charcoal, the shading of a smooth, worn rock, or the organic nature of pasta boiling.  Often times they are seen as boring, or hold no interest in relation to the graphic nature that has become the world around us.  Everywhere we turn, there are images demanding our attention, over the top, bright, bold, and intriguing. Visual culture has gotten progressively saturated with ‘attention-getting’ ploys and images, and I think it is the overload of this that attracts me to simplicity. 

            I have explored multiple mediums, techniques, and concepts and was able to grow and develop my own personal style and preferences to the point where I would be confident in any independent work I may explore.  I find using unusual and different materials intriguing.  I’m interested in aesthetically pleasing and traditional forms of artmaking, and view art as fun. I do not plan on changing the world with my art, I do not even plan on changing anyone’s opinions about any specific idea with my art.  I think that by making lighthearted, enjoyable art, I will attract an audience that is fun loving and enjoyable to be around.

            A word I often use to describe my work is ‘loose’.  I feel that not only do I wish my work to hold the essence of things naturally beautiful, but believe it should be a natural process as well. The fact that I love my sketches so much also alludes to the idea that I love the feeling of looseness.  Sometimes I prefer the look of the sketch over the final piece that the sketch was made for because it holds more of the essence of what I am trying to portray, rather than visually describing it.  When my work is to the point where it needs a little boost to look “complete” is when I like it the most.  This has been true for almost my entire college career and I still to this day am not sure why that is.  I think to capture the essence of an object, you cannot tell the whole story; that is you cannot show the object in fine detail because then there is no element of obtaining a feeling of understanding the object if it is perfectly and detailed described for you.  I do not want my viewers to “get it” and move on quickly, I want them to take a moment to appreciate the beauty in the line and simplicity and although there is little shown, still understand the essence of the piece and feel the movement within it. 

            In sum, I find interest in nature and in the natural overlooked beauties that surround our everyday life.  The flashiness of graphics and visual culture we see everyday are too much for me, and I like to go back to the basics and reveal the essence of simple, natural, subtle beauty. Some of my best work can be found in my sketches, or studies, of these naturally beautiful things because I prefer the look of looseness over precise, taught, “complete” works.     

John's Statement

Having inspiration is one of the most important aspects of being an artist. Of coarse everyone has different inspirations, but for me the process of decay, the deconstruction of an environment, and the revealing of information beneath the surface have become mine. Graffiti, advertisements, and found materials are incorporated into my paintings and prints. This build-up of materials acts as a foundation from which I can then work “backwards,” digging back into and recovering lost information. The act of finding becomes an important part of the process.

 

As a young adult, I had been exposed to the bustling and decrepit streets of Boston, Providence, and New York City. There is so much going on, so much information being thrown at you. I’m attracted to the urban wall for exactly those reasons. I peel at the surface to see its history. I find there can be a very interesting dialog between the information that is there and the information that is hidden. Surfaces can serve multiple functions and they change over time through weathering, aesthetic decisions, and advertisements to name a few. What causes these changes is what interests me most. 

Betsy's Statement

As an artist and as a person I am interested in the beauty of the every day, mundane world around us. I want to remember the sort of magic and wonder each day held when I was a small child, like the way a sunset can turn a dull room into brilliant fiery gold or the hush brought by a snowfall. While I may be an adult I do not have to leave behind what it felt like to be a child existing in a land of fantasy and wonderment, and I feel my art reflects this. The things that we see every day are often the most beautiful, and with my art I try to express that feeling of beauty without forgetting the reality that created it.

Kyle's Statement

First, let me state that I do not consider myself an artist. 

Maybe its the time I spent studying engineering before switching majors.

Maybe I just don't understand what an artist is exactly.

Well, to be honest, I really don't understand what an artist is exactly.

So what am I trying to do with my 'art'? 

I'm interested in experiences.

I love crafting scenes,

I love creating fact from fiction,

I love immersion.

In my 'art' I am always attempting to create something for an audience.

I want people to see my work,

I want them to hear my work,

I want them to feel my work.

I want them to taste and touch my work.

 

And through their experiences I gain satisfaction.

I am the silent observer, watching from a distance, 

vicariously enjoying the thrill of exploration as they take in my 'art'.

Really, its all very selfish. 

I provide the stage,

craft the scene exactly the way I want it,

and they, the audience, are my actors,

providing me with a sort of entertainment which only serves

to push me forward, to craft and scheme even more.

Without them, my work means nothing to me.

Rich's Statement

I’m in a car, most of my belongings crowd me in. I’m driving sleeplessly into a new space. At times our conversations are animated at the sights of new things. We are like wide-eyed children, amazed and dazzled by our new experiences. There are also long moments of intense silence between us. We become extremely pensive as we drive through several states, occasionally changing the music, sometimes letting an album expire for hours before selecting a new one. I’m thinking of things from my childhood. I’m thinking of the not-knowing. I fear that our tools of structure and rationality are overthrowing emotion and experience. 

I feel that the impact of my visual artwork is largely psychological. I pair it with performances that work in a similar way, peppered with notions of karma and energetic direction. My recent works include posters and videos in the form of public service announcements or 'social and political etiquette' influenced by WWII and cold-war era propaganda. They are meant to be distributed and viewed in the public sphere. By intervening with simple symbolic gestures, I’m attempting to change the landscape of the world around me to one that is less oppressive, and more enriching to the physical, intellectual, emotional, and spiritual states of all people.

Joshua's Statement

I’ve never considered myself an artist. Nor have I ever considered my work art. So if I wanted my work to achieve one thing, it would be that it is seen as art. It is not until we view our work as art, that we can see ourselves as artists. And it is this acceptance of our artistic roles that gives us the vision to push ourselves and our work.

            I work in video because I truly love it. I love the ability to show others, a new point of view. I love to be able to take something dark and edit it into something beautiful. Programs like Final Cut and After Effects give people the tools to let them translate the stories running through our heads, into something tangible that can be shared with the world. Video is the ultimate medium because you take facets from every area of the art world: visual, audio, narratives, colors…the list is infinitely long. It is because of this world of limitless possibilities that I am an artist.

Anita's Statement

I feel that art is one of the biggest influence in how our world is shaped.  Many things we see, feel, and taste that surrounds us has some form of artistic value to it.  I think many people overlook these values and take them for granted, but not me.  I want to be part of an artistic movement that brings back the meaning of art as an expression that cannot be judged because it is something unattainable to define.  This expression can be anything from wanting to send a message to the world, sharing a personal story, or raise awareness on certain issues.  Combining all these into something artistic creates a certain kind of beauty that could never be expressed in words or in writing.  I believe seeing and creating art is important in our lives because it makes up more open-minded and interpretative of things.  Art amazes me, and I want to amaze people.

Luis Statement

In trying to account for myself as an artist it can be hard to find reasons (without
referring to an unaccountable future) to explain why I have dedicated so many hours to
projects that have provided me very little or no material profit whatsoever. However
defining the essence of what has led me to get involved in these projects can be simpler:
When I am involved in the process of artistic creation I am in a mode of positive productive
existence. That is, I am channeling my energy into creating sounds, images that affect and
have an effect on my surroundings. That energy is not lost in oblivion and somehow returns
to me and sometimes even multiplied. On the other hand when I’m in a negative or
counterproductive state I then start feeling almost void of energy, and when that negative
energy returns, it can also be multiplied.
I always thought that the idea of heaven and hell expressed in the bible and many
other religious documents was a metaphor for the idea of how the energy you channel
comes back to you. However my concern is not to what is to become of me after I die,
but what is to become of me while I am alive. How will I have the power to wake up each
morning and feel that I am alive, that I am aware of the rhythm that my heart has kept with
miraculous perfection for as long as I can remember? By being involved in the artistic
process, I become aware of my immediate surroundings and my consciousness expands
beyond the flesh with which I breathe and becomes part of a larger universe.

Derek Statement

 My attitude to life is that you cannot fear failure. The process of creating video art to me is an experiment. It begins with a bunch of ideas. Once I reach around twenty to thirty ideas I begin developing a theme to fit these ideas. It is like a jig saw puzzle. I test all the ideas to figure out where they fit the best. Once a tentative plan is established I begin experimenting with my ideas to figure out how to achieve the effect I want. Sometime I will be able to get the desired affect sometime not. If I cannot get what I want I will either modify the idea or look back at my ideas and choose another one. Generating as many ideas as I can allows me to funnel my ideas down so I reach the best one.

Joel Statement

I have spent the last 20 years making work to send a message through time. I have
worked in wood, bronze, and glass. I have focused primarily on glass because it will last
under some conditions around 10,000 years. I have focused, and edited my ideas to make
them universal enough to translate to humans 10,000 years from now.

But I am bored.

I have sucked the life and vigor out of every piece I have done in order to make the
message universal, and easily understood. I am now exploring ideas of the moment. I
want to use and understand the visceral emotions of the world in which I live today, and
I want to use a medium that encompasses, and drives that world. Transient, ephemeral,
and immediate.

I am using video, and the computer to duplicate, and imitate my world as I see it and as I
want to portray it.