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This thesis delves into the pursuit of mental pleasure and the art of avoiding hardship, key principles guiding both my life and art practice. It explores the practicalities of seeking pleasure in art, the significance of minimizing difficulties, and the emergence of a pleasure-focused philosophy. The thesis also discusses the rationale for choosing clay as the medium for this artistic exploration, supported by historical and contemporary references. The culmination of these elements is represented in my thesis exhibition, which is a manifestation of this approach.

This study aims to analyze the depiction of the following themes in the Autobiographical Memory exhibition, using a psychoanalytical lens: identity, memory, archive, surveillance, and the death drive. The artwork represents a journey that started when I arrived in Winnipeg in 2017: a journey through my memories. Immigration was the trigger for this journey, as the scenes and images of the past started to come back with an intense emotional impact, because in this new context they had started to mean something different. Painting, drawing, video, and collage hence became the tools to make sense of the past in the light of the present and to reconstruct a new self, a new identity. This body of work represents an autobiography in a postmodern context through a blend of near and far pasts, personal and collective memories, and private to public scopes.

This study aims to analyze the depiction of the following themes in the Autobiographical Memory exhibition, using a psychoanalytical lens: identity, memory, archive, surveillance, and the death drive. The artwork represents a journey that started when I arrived in Winnipeg in 2017: a journey through my memories. Immigration was the trigger for this journey, as the scenes and images of the past started to come back with an intense emotional impact, because in this new context they had started to mean something different. Painting, drawing, video, and collage hence became the tools to make sense of the past in the light of the present and to reconstruct a new self, a new identity. This body of work represents an autobiography in a postmodern context through a blend of near and far pasts, personal and collective memories, and private to public scopes.

This text explains the journey to find ansigcheo, which became the foundation of DaYae Kim’s MFA project “Floating Around.” Ansigcheo is Korean for a place between reality and utopia where one can relax and rest comfortably. Kim recalls the old village she used to live in with her grandmother, studies how childhood memories affect art, and expresses the process of finding her ansigcheo through her work.

This text explains the journey to find ansigcheo, which became the foundation of DaYae Kim’s MFA project “Floating Around.” Ansigcheo is Korean for a place between reality and utopia where one can relax and rest comfortably. Kim recalls the old village she used to live in with her grandmother, studies how childhood memories affect art, and expresses the process of finding her ansigcheo through her work.

This text focusses on addressing women’s rights in Iran through the personal experience of the artist. The body of exhibited work consists a series of photographs and a video that manipulate visible reality to show the hidden truth. The photograph, The Silent Mask, is based on the scold’s bridle, an 18th century British torture device, in combination with the Iranian borgheh, a face covering still in use in some parts of Iran. Pure is a short film that shows ghusl, the Islamic ritual activity of cleansing one’s body to be accepted by God. This Exhibition advocates for education and awareness of hidden inequalities within a complex culture.

Our bodies face continuous stress throughout a lifetime, physically and mentally deteriorating and changing as we age. As humans, we each have a unique vessel and I am in a constant state of wishing to preserve my own. Never Pass a Mirror Without Looking in It is an exhibition consisting of manipulated Polaroid images. There are nine floor-based installation works that are meant to be walked through and around. Viewers are urged to strain their bodies in order to search for a figure within each piece. Breanne grew up in Winnipeg Manitoba where she spent the majority of her life as part of the Manta Swim club. This seventeen-year career, that included representing Canada in swimming competitions all over the world, became a huge influence on her artistic practice.

This text focusses on addressing women’s rights in Iran through the personal experience of the artist. The body of exhibited work consists a series of photographs and a video that manipulate visible reality to show the hidden truth. The photograph, The Silent Mask, is based on the scold’s bridle, an 18th century British torture device, in combination with the Iranian borgheh, a face covering still in use in some parts of Iran. Pure is a short film that shows ghusl, the Islamic ritual activity of cleansing one’s body to be accepted by God. This Exhibition advocates for education and awareness of hidden inequalities within a complex culture.

Our bodies face continuous stress throughout a lifetime, physically and mentally deteriorating and changing as we age. As humans, we each have a unique vessel and I am in a constant state of wishing to preserve my own. Never Pass a Mirror Without Looking in It is an exhibition consisting of manipulated Polaroid images. There are nine floor-based installation works that are meant to be walked through and around. Viewers are urged to strain their bodies in order to search for a figure within each piece. Breanne grew up in Winnipeg Manitoba where she spent the majority of her life as part of the Manta Swim club. This seventeen-year career, that included representing Canada in swimming competitions all over the world, became a huge influence on her artistic practice.

This text explores the role of the supplement and of play, specifically as they apply to Julia Wake’s MFA project, A Pylon is a Party Hat is a Cake. The body of exhibited work consists of three sculptural pieces, with supplemental components including a participatory station and an animation. Both the research and the physical components of the work are informed by an ongoing series of participatory workshops.

This text explores the role of the supplement and of play, specifically as they apply to Julia Wake’s MFA project, A Pylon is a Party Hat is a Cake. The body of exhibited work consists of three sculptural pieces, with supplemental components including a participatory station and an animation. Both the research and the physical components of the work are informed by an ongoing series of participatory workshops.

My interest involved creating a metaphor for accumulation and loss using the figurative form to promote conversations that delve into issues of accumulation, abundance, loss, and identity as represented by a male descendant of western colonization in North America. Wāst is a time-based research and physical journey into the bodily process to lose 50 pounds over a 54-week term, making plaster casts of my torso at regular intervals to document the loss. The work was inspired by thoughts of loss, excess and identity, and the role media plays in shaping our sense of identity.

Alternate Reality is a self-analytical study in self-portraiture in light of a mirroring notion that can materialize thoughts and emotions, and represent out-of-place reflections of the portrait, surrounded by symbolically charged forms of animals and organic shapes. The mirrored image represents an unspoiled and immortal vision of existence, with death being the only concept that is absent.

My interest involved creating a metaphor for accumulation and loss using the figurative form to promote conversations that delve into issues of accumulation, abundance, loss, and identity as represented by a male descendant of western colonization in North America. Wāst is a time-based research and physical journey into the bodily process to lose 50 pounds over a 54-week term, making plaster casts of my torso at regular intervals to document the loss. The work was inspired by thoughts of loss, excess and identity, and the role media plays in shaping our sense of identity.

Alternate Reality is a self-analytical study in self-portraiture in light of a mirroring notion that can materialize thoughts and emotions, and represent out-of-place reflections of the portrait, surrounded by symbolically charged forms of animals and organic shapes. The mirrored image represents an unspoiled and immortal vision of existence, with death being the only concept that is absent.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed.

Open Studio: A Phase in Six Years of my Art Education is a true-to-scale reproduction of my graduate studio space, populated by a meticulously constructed life-size, wax self-portrait. Evoking Romantic imagery of the artist in the studio, the uncanniness of the wax figure creates an experience of the type that Mike Kelley has described as “banal [and] emptied of magic.” The figure’s eyes are closed and his gesture is as vulnerable as it is defensive. Almost teetering, but balanced within the space, the work poetically falls apart upon close inspection and reveals a narrative that’s open to interpretation.

Open Studio: A Phase in Six Years of my Art Education is a true-to-scale reproduction of my graduate studio space, populated by a meticulously constructed life-size, wax self-portrait. Evoking Romantic imagery of the artist in the studio, the uncanniness of the wax figure creates an experience of the type that Mike Kelley has described as “banal [and] emptied of magic.” The figure’s eyes are closed and his gesture is as vulnerable as it is defensive. Almost teetering, but balanced within the space, the work poetically falls apart upon close inspection and reveals a narrative that’s open to interpretation.

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.

The thesis and exhibition, Interaction: Portraiture in a Digital World, seeks to analyze digital portraiture today. I choose to depict concepts and ideas, as they relate to digital portraiture, through four distinct series of work, which encompass similar ideas and themes, but come at them from different perspectives. The work within the exhibition is comprised of several portraits of personal friends, family, and acquaintances, which have all been appropriated from online sources such as Facebook, and online dating sites. Because the portraits consist of people that I know on a personal level, are a collection of portraits that are derived from my personal social media profile, and represent individuals with whom I have frequently interacted with online, one could assess that in addition to being a collection of unique individual portraits, the exhibition is also a self-portrait of me, the artist. The exhibition includes Facebook Text Portraits, Nightclub Portraits, Online Dating HTML Portraits, and a Crying Girl Portrait, all of which strive to blur the lines between art and digital design, while addressing the function and meaning of digital portraiture today.

In my thesis work, using expressive gestures, feminist theory and embroidery, I have explored experiences of immigrant women and their continuous struggle to thrive in a new homeland. My work is informed by my experiences as a first generation immigrant woman from Sri Lanka as well as my awareness and experiences of other immigrant women’s experiences from other countries. Although some women have lesser challenges, most immigrant women struggle to thrive in unfamiliar surroundings. This struggle has been a recurring theme in immigrant women’s lives throughout history, and women continue to go through immense hardships in trying to merge into a new society. While still daydreaming of their motherlands, most immigrant women suffer emotionally and psychologically due to lack of extended family support, education, finances, language skills, social and work skills, as well as tensions between traditional and cultural expectations. In spite of these obstacles immigrant women continuously make an effort to reclaim their strength and power. With advances in education and life experiences some of these difficult issues are fading away in my life, although, sometimes they do haunt me. In my artwork I have explored these common experiences and challenges overcome by me as well as other immigrant women through feminist theory, drawing and sculptural techniques and used embroidery, sewing and stitching to bring them to life. I hope to generate awareness through my artwork of women’s experiences that will influence the changes that contribute the empowerment of women.

In my thesis work, using expressive gestures, feminist theory and embroidery, I have explored experiences of immigrant women and their continuous struggle to thrive in a new homeland. My work is informed by my experiences as a first generation immigrant woman from Sri Lanka as well as my awareness and experiences of other immigrant women’s experiences from other countries. Although some women have lesser challenges, most immigrant women struggle to thrive in unfamiliar surroundings. This struggle has been a recurring theme in immigrant women’s lives throughout history, and women continue to go through immense hardships in trying to merge into a new society. While still daydreaming of their motherlands, most immigrant women suffer emotionally and psychologically due to lack of extended family support, education, finances, language skills, social and work skills, as well as tensions between traditional and cultural expectations. In spite of these obstacles immigrant women continuously make an effort to reclaim their strength and power. With advances in education and life experiences some of these difficult issues are fading away in my life, although, sometimes they do haunt me. In my artwork I have explored these common experiences and challenges overcome by me as well as other immigrant women through feminist theory, drawing and sculptural techniques and used embroidery, sewing and stitching to bring them to life. I hope to generate awareness through my artwork of women’s experiences that will influence the changes that contribute the empowerment of women.