MFA Visual Studies

Permanent Link: https://hdl.handle.net/10177/40343

The Master of Fine Arts (MFA) in Visual Studies program at the Pacific Northwest College of Art in Portland, Oregon provides experienced makers with the opportunity to enhance and diversify their creative skills through independent research and critical analysis.

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Now showing 1 - 5 of 5

Brady Wolchansky 2024
(2024-06-24) Wolchansky, Brady
MANIC PIXIE DREAM GIRL SYNDROME, A Micro-Cinematic Experience features the premier of an experimental short film I wrote, co-directed, and starred in called, Manic Pixie Dream Girl Syndrome, an adaptation from a comedic monologue of the same name I performed at an all-female group art show in 2023. This tangential monologue begins with, “you guys ever hear of the expression ‘all beautiful women are crazy’?” The 5-minute short screens at looped intervals in a makeshift microcinema constructed alongside a pop-up museum of “artifacts”; a behind-the-scenes look of the filmmaking process, including but not limited to props, costumes and images from the film’s set. The complete installation revolves around my investigations of the “Manic Pixie Dream Girl” (MPDG) character archetype, as seen in popular romantic films such as, Some Like it Hot with Marilyn Monroe, Eternal Sunshine of the Spotless Mind, Breakfast at Tiffany’s, and 500 Days of Summer with Zooey Deschanel. In cinema, the MPDG is portrayed as an artsy independent woman who often rejects societal expectations of classic womanhood and domesticity. While the MPDG is presumed to be free-spirited and independent, she is still defined by the expectations of a predominantly male protagonist and is mostly restricted within the confines of said male protagonist’s own personal goals and growth, and rarely displays any self-actualization or true personhood. This exhibition aims to recreate my own version of the MPDG, examined from a modern, feminist lens. Through the aesthetics of filmmaking, stand-up comedy and intermedia installation my hope is to show empathy with those who can relate and rouse awareness of the MPDG trope’s negative effects in others.
Erin Boberg Doughton, 2024
(2024-07-25) Doughton, Erin Boberg
The written thesis Now it’s a Party explores the tensions and possibilities of performance in visual art spaces, with a focus on why and how artists create ephemeral, embodied work in spaces designed for the care and display of objects. The title is taken from a common phrase exclaimed after a glass is broken at a house party. Like a good party, a performance often involves breaking something - a glass, a rule, a social code. Performance relies on a shared (if temporary) belief in the value of process over product, people over objects and the collective over the individual. The exhibition Now it’s a Party extends the thesis to the gallery as an open studio where visitors are invited to share meals, practice simple magic tricks and experiment with creating and recreating documents of performance. Unlike traditional magic - where the magician does not reveal their tricks, everything in the gallery is real and revealed. Visitors are offered a menu of solo and collaborative scores to be performed with domestic objects including tables, chairs, tablecloths, dishes and brooms, revealing the often invisible labor of art-making and caretaking. The objects and actions vary from day to day, documented in an accumulative archive of photographs and ephemera. The documentation includes two primary scores - Do Over (tablecloth trick) and Ghost Broom. The performers in the photographs are Erin Boberg Doughton, PNCA Alum Crimson Ravarra and PNCA student Malique Pye. All photos by Mario Gallucci.
Sally Jablonsky 2024
(2024) Jablonsky, Sally
Through oil painting, clay sculpture, and a self published magazine, I explore the experience of being a body and an animal on the Earth. I use the body as a source of information to reveal the human fantasy while at the same time creating a new framework to live within–one that shows the human experience in the greater context of the natural world. My work explores: the experience of time and being a body relating to disability, what it is to be a human animal, art making as tool use, aesthetics and care as resistance, and nature as the appropriate context for chronically ill people’s (and maybe everyone’s) experiences. I am interested in undoing hierarchical values assigned to species and in looking to nature, not as a metaphor, but as a place to find commonality among the living beings of this planet. By allowing myself to move between a range of styles within the paintings, I show a respect for a number of things: the physical, the pleasure of looking and of making, and the importance of questioning aesthetics as an essential part of resistance and survival. As it is a part of the fantasy of ableism, I throw away mastery, and instead am guided by the pure fun of making as well as a questioning of my own aesthetic tendencies. Imagery in paintings (a shadow person resting on a floral couch, a tree at night, a doctors' visit, a waterfall scene, and a cat person) come from experiences I've had that have given me a certain kind of awareness of my body–a new perception and relationship involving care and maintenance, physical feeling, and mental picture of who and what I am. I invite viewers to unlearn that we are separate from nature, and to witness a journey through the kingdom of the sick.
Sunshine Tourtillott 2024
(2024-07-23) Tourtillott, Sunshine
DEVOTED TO THE AFTERMATH IS AN EDUCATIONAL AND ARTIST JOURNEY EXPLORING GRIEF, LOSS, AND SOCIAL STRUCTURE. USING FOUR COMPONENTS TO HIGHLIGHT MY PERSONAL FEELINGS IN LOSING FAMILY. I USE A COMBINATION OF PHOTOGRAPHY, CANOTYPE, SEWING, AND CREATIVE WRITING TO PROCESS MY THOUGHTS, FEELINGS, AND RESEARCH. MY PROJECT IS DEEPLY ROOTED IN RESEARCH IN THE AREAS OF GENEALOGY, RELIGION, AND GRIEF COUNSELING. USING MEDIUM FORMAT COLOR FILM, LIGHT, SHADOW, AND SHAPES TO EXPRESS MY FEELINGS OF ISOLATION, MISSED OPPORTUNITY, AND LONELINESS. BUT THAT WASN’T ENOUGH. FOR A DECADE I HAD RESEARCH MY TOURTILLOTT FAMILY HISTORY GOING BACK TEN GENERATIONS. THIS PROCESS WAS VERY MUCH IN TUNE WITH THE LOSS OF FAMILY AND I WANTED TO INCLUDE THE FAMILY I HAD FOUND BUT KNOW I WANTED TO MAKE SOMETHING TANGIBLE THAT I COULD HOLD, THAT WOULD REMIND ME OF FAMILY. THE PROCESS OF CYANOTYPE AND SEWING WAS THAT PERFECT EXPRESSION. TAKING AND PROCESSING THE IMAGES, CUTTING THE COTTON FABRIC, DYING THAT FABRIC AND PROCESSING IT OUTSIDE GAVE ME LAYERS OF TIME TO CONNECT WITH EACH STEP AND MY EMOTIONS. PROCESSING THE CANOTYPES GAVE ME THE SPACE AND TIME TO SIT WITH WHAT I WAS CREATING, TO MAKE BONDED DECISIONS, AND MEET MY ANCESTORS. THE THIRD COMPONENT IS MY MEMOIR WHICH IS CREATIVE NONFICTION WRITTEN IN A DAIRY FORMAT. I DISCOVERED LANGUAGE TOWARD THE END OF THIS PROJECT AND COULD SEE THAT IN ORDER TO FULLY COMPLETE THE CIRCLE OF MY GRIEF FOR MYSELF AND MY AUDIENCE I NEED TO WRITE AND PRINT A MEMOIR. IT'S RAW, REAL, EMOTIONAL, AND HONEST.
Morgan Rice 2024
(2024) Rice, Morgan
Xanadu is a tabletop role-play game about social construction: the concept that societies collectively invent the terms that then come to define reality. My purpose is to suggest that there is revolutionary power in this, and to explore the ways in which play, imagination, and nonlinear storytelling can develop viable descriptions of reality outside of Western constructs. My artwork often responds to observations about social systems and epistemologies. From what I observe, the systems that dominate societies worldwide derive primarily from slavery, war, and supremacist Western ideologies, and work in tandem to power a centuries-long process of mass exploitation. In my thesis work, I wanted to distill these intertwining systems into a microcosm that names and deconstructs, but does not reproduce, the violence of these systems of oppression, while making space for creative experimentation with alternatives. Writing the game was also a way of creating a context for the artwork I would make in response to it. The exhibition is designed to show the temporality of the project’s composition, and to offer thematic breadcrumbs about the game’s narrative universe. It functions as a pathway, wall-papered with notes and early concept sketches that give way to more concrete game materials, alongside symbolic works relating to the game’s themes of performativity, social construct, authoritarianism, and community. The “destination” at the end of the pathway mimics the scene in which player-characters find themselves when the game begins.

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