ABOUT
GRAPHIC DESIGN
ALICJA WISNIOWKA
ANDREW KIM
ANGELA SUN
ANGIE WIJAYA
CARLYN SOARES
CHARLOTTE KERSHAW
CIARAN BRANDIN
CONGCONG WANG
ERIC RANDALL MARKUS
FIONA LIN
GABRIELA TIRADO
HEEYEON KIM
JIAYI MA
KABITA DAS
KAYLAH HAYE
MAUREEN BURNS
YIAN ZHAO
OLIVIA WILLIAMS
SARAH CUMMINGS
SARAH PERKINS
SHARON ZHONG
SKYLER TSE
VALENTINA WICKI
WENJING LIU
PAINTING
BRIDGETTE REILLY
ELANNA HONAN
ELLEN KANELLIAS
GREY LENNON
HANMO ZHOU
KIMBERLEY ZAK
OLIVIA JAMES
TIMOTHY JAMES BERGERON
XIAN MARIE AZU-BOLES
PRINTMAKING
LEO FEININGER
MICHAEL LAUNGJESSADAKUN
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
SOFIJA CHRONEOS
sofijachron.com
@sofijasart
Thesis Book
Thesis Project
Layering reused materials through space has been the focus of my work. I am continually searching for materials, whether found or re-purposed, to use with limited regard to their utilitarian value. This process disrupts their origin but establishes a new place they can exist. At the same time, I do not disguise their physical qualities: a box remains a box; a piece of cloth remains a piece of cloth.
In my undergraduate studio, the work was in constant flux, never really beginning or ending. This continuation at times segued into installation format in a new space. My undergraduate installations were spontaneous, improvised manifestations of this material process, and were “complete” based only on the given time constraints of the moment. Highly intuitive, this work has been more akin to an attitude or disposition rather than a goal-oriented process.
The work relies on my own interaction with the materials and, site-specific, the space it is contained within. It is full of contradictions—being about nothing yet everything, full of questions but offering no answers, touching upon a delicate balance between logic and play. It is non-narrative, yet does not preclude narrative interpretations. As a result, this work asks a lot of the viewer. Assuredness about one’s aesthetic sensibility and physical, optical, and spatial relationship to the work may come into question.
Following the transition to online learning, I relocated to my parents’ house in Pennsylvania. Here, I established a new studio practice, using miscellaneous materials to create installations in the backyard. I developed a page on my website with documentation not only of my installations, but also collections of audio, video, and sketches displaying my dedication to studying the new space and materials. Although challenging, I am glad to have jump-started my studio practice outside of the institutional safety net. The work continues to explore the themes of my undergraduate studio practice, while taking into consideration personal circumstances within a global crisis.
Weight and Circumstance, 2019,
dimensions variable
sofijachron.com
@sofijasart
Thesis Book
Thesis Project
Layering reused materials through space has been the focus of my work. I am continually searching for materials, whether found or re-purposed, to use with limited regard to their utilitarian value. This process disrupts their origin but establishes a new place they can exist. At the same time, I do not disguise their physical qualities: a box remains a box; a piece of cloth remains a piece of cloth.
In my undergraduate studio, the work was in constant flux, never really beginning or ending. This continuation at times segued into installation format in a new space. My undergraduate installations were spontaneous, improvised manifestations of this material process, and were “complete” based only on the given time constraints of the moment. Highly intuitive, this work has been more akin to an attitude or disposition rather than a goal-oriented process.
The work relies on my own interaction with the materials and, site-specific, the space it is contained within. It is full of contradictions—being about nothing yet everything, full of questions but offering no answers, touching upon a delicate balance between logic and play. It is non-narrative, yet does not preclude narrative interpretations. As a result, this work asks a lot of the viewer. Assuredness about one’s aesthetic sensibility and physical, optical, and spatial relationship to the work may come into question.
Following the transition to online learning, I relocated to my parents’ house in Pennsylvania. Here, I established a new studio practice, using miscellaneous materials to create installations in the backyard. I developed a page on my website with documentation not only of my installations, but also collections of audio, video, and sketches displaying my dedication to studying the new space and materials. Although challenging, I am glad to have jump-started my studio practice outside of the institutional safety net. The work continues to explore the themes of my undergraduate studio practice, while taking into consideration personal circumstances within a global crisis.