Date of Award
Spring 5-8-2024
Degree Name
Bachelor of Fine Arts (BFA)
Restricted/Unrestricted
Unrestricted
Abstract
In an era of exposure to thousands of images every day with practically unlimited access to the world’s archive of art, this essay explores the legacy of the productions of medieval convents and the women who would encounter only a few art objects each year as documented by historians Chiara Frugoni, Jeffrey Hamburger, and Sharon Strocchia. In this era of visual overconsumption, this essay proposes the body of work, Where the Cicadas Burrow as an archive utilizing alternative printing processes to pull forward the tradition of liturgical arts many religious women would have participated in historically. Operating within a contemporary sphere, the Where the Cicadas Burrow models artists like Christine Elfman who utilize natural dyes and materials to celebrate alternative folk processes while integrating modern technology into the printing process. While the reductive process of the laser engraver creates a mysterious aura, the combination of advanced technology with slow handmade processes creates shroud-like compositions. Where the Cicadas Burrow explores the role of spirituality in contemporary art while inviting viewers to pause and reflect on cycles of change before moving along.
Mentor/Primary Advisor
Heather Bennett, Cheryl Wassenaar Savage
Recommended Citation
Charles, Mary Kate, "The Cicadas are Always Beneath our Feet" (2024). Bachelor of Fine Arts Senior Papers. 117.
https://openscholarship.wustl.edu/bfa/117
Artist's Statement
Where the Cicadas Burrow negotiates the time based quality of fugitive materials with ritualistic printing processes. The red wine soaked fabric inevitably fades and frays, even wine which has been fermenting for years. I am comfortable with the uncontrollable photosensitive reactions to sunlight; this quick wear and tear creates its own little history, a remembering and a testament to each work’s past.
From wax resist to laser engraved birch wood and screen printed muslin; this ritual of making is full of unknowns. No print perfectly replicates another. I am particularly interested in the resulting effect of the laser engraved fabric, which seems to conceal each image’s printing process. Appearing as if the print has miraculously appeared, the drawings become irrevocably ingrained in the material. This indiscernible process creates a sense of mystery that reflects the folkloric traditions inspiring the compositions.
As I collect natural materials and work with ritualistic gestures, I hope to impart memories of hushed moments. My drawings explore the trope of the wild woman, the annual cicada, and anatomical studies of bones, like relics. I aim to inspire curiosity and share my enchantment with the everyday aging processes around us.