• MFA in Fine Arts

  • Andrea Gonzalez
    Byron Peters
    Jacob Wick
    Jaimie Healy
    Jordan Reznick
    Jsun Charles-Jeremiah Parizo
    Julia Robertson
    Julie Feldman
    Kenny Kong
    Nan Peletz
    Sadie Harmon
    Sara Sellitto
    Seth Gutierrez
    Tiffany Canter
    Tim Power
    Zoe McCloskey

  • Jamie Emerick - CCA Graduate Thesis Events

    Jamie Emerick

    Seeing In The Dark
    Fantasy
    And The Eyes Of Her Eyes Were As Lost As You'll Find
    Blind Drawing Helmet
    Self-Subjectification and the Theatre
    Perception Glasses
    Saint Lucy, Patron Saint of the Blind
    Shadow
    Double Vision

    Seeing In The Dark

    36"x24"

    Oil and Chalkboard Paint on Canvas, Graphite on Paper

    Fantasy

    36"x24"

    Oil and Chalkboard Paint on Canvas, Graphite on Paper

    And The Eyes Of Her Eyes Were As Lost As You'll Find

    6"x8" and 6"x8

    Oil, House Paint, Graphite on Canvas

    Blind Drawing Helmet

    8”x9”x12”

    Plaster, Chalkboard Paint, Chalk

    Self-Subjectification and the Theatre

    144”x48”

    Oil and Chalkboard Paint on Canvas

    Perception Glasses

    4”x1”

    Plastic Frames, Peep Hole, Leather, Zipper

    Saint Lucy, Patron Saint of the Blind

    60”x72”

    Oil and Chalkboard Paint on Canvas

    Shadow

    60”x72”

    Oil on Canvas

    Double Vision

    18”x36”

    Oil on Canvas

    Seeing In The Dark thumbnail
    Fantasy thumbnail
    And The Eyes Of Her Eyes Were As Lost As You'll Find thumbnail
    Blind Drawing Helmet thumbnail
    Self-Subjectification and the Theatre thumbnail
    Perception Glasses thumbnail
    Saint Lucy, Patron Saint of the Blind thumbnail
    Shadow thumbnail
    Double Vision thumbnail

    jamieemerick@gmail.com

    jamieemerick.com

    Artist Statement

    This body of work is about vision and blindness. In each of the pieces selected, I have been pushing my conception of what it means to see and what it means to be in the dark. This process has pulled me away from the comfortable work/space of technical painting and thrust me into unfamiliar territory where I have to feel out (both literally and metaphorically) new ways of understanding my self, my materials and my vocabulary. The theories and dialogues I have been working in stem from Derrida’s Memoirs of the Blind, specifically the relationship that memory has to perception and Hal Foster’s critique of the search for alternative visualities located in the physical operation, socialized modes of understanding, and subversions of the past.

    My works on vision question the reliability of sight. They point to factors that alter perception such as lenses that expand peripheral vision, optical illusions, and emotional factors such as grief and fear. These exposed “blind spots” reflect back to me the selective way I experience the world. Closing the eyes, I became more interested in how the body relates to physical spaces and how the mind (and imagination) is activated in the absence of visual stimuli. The compositions of Pina Bausch, specifically her performance of Café Müller, were very influential; specifically how she deals with the tenderness and violence of human relationships, the movement through space with closed eyes and the importance of memory.