• 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

  • Rachel Granofsky - CCA Graduate Thesis Events

    Rachel Granofsky

    Space is Contagious
    Green Screen
    Narcissus
    Like a Wake
    (Holey) Space
    Situation Involving
    A Cover
    Direct Attention
    Conspicuous Compartment
    Somewhere Over

    Space is Contagious

    The positioning of layered wallpaper is calculated to conceal the seams of its alignment and camouflages its framing devices. The camera's focus conversely reveals discontinuity in the pattern's placement, questioning the integration of its parts.

    C‐print, 30x40 inches

    Green Screen

    The pre‐existing hole motivated the transformation of this wall into a passageway. The title Green Screen references a post‐production editing technique for compositing two images based on color hues to remove a background. Contrarily the illusion of this picture is achieved through trompe l’oeil perspective painting in the doubling of the door, transforming the background into a corridor of mirrors.

    C‐print, 30x40 inches

    Narcissus

    The overstated paper picture frame emphasizes the limits of the composition while pointing to that, which is excluded. In exploration of what it omits, absence is depicted as an evasive impression avoiding capture.

    C‐print, 30x45inches

    Like a Wake

    This installation was arranged in the dirt beneath my house. The oversized cardboard frames on the wood mantle emphasize the nostalgic treatment of the photo while shrinking attention to the subtlety of the unearthed body.

    C‐print, 16x24 inches

    (Holey) Space

    The painted white border flattens the perspective of the corner while delineating the perimeter of the frame. The three‐dimensional cardboard logs push up against the limits they occupy to emphasize the constraints of their encapsulation. The pervious smoke emitted through the hole implies mobility beyond the static frame.

    C‐print, 30x45inches

    Situation Involving

    A metaphor for a relationship between three people, the empty black garbage bag simultaneously pulls you in and pushes you out. The color photograph of a black and white scene uncovers the subtle spectrum that exists between the folds of polarity.

    C‐print, 30x45 inches

    A Cover

    The photograph represents that very subtle moment when… I am neither subject or object but a subject who feels he is becoming an object: I then experience a micro version of death (of parenthesis) I am truly becoming a specter.1 1 Barthes, Roland. Camera Lucida. Translated by Richard Howard (New York, Hill and Wang,1981), p.14

    C‐print, 20x30 inches

    Direct Attention

    The appearance of light is constructed in the corner of a room using paper, paint and tape. Interrogating the fallibility of simulation, the spotlight seems to expose the visible seams of my arrangement.

    C‐print, 20x30 inches

    Conspicuous Compartment

    The absence of a person shifts the focus of this photo booth onto it's backdrop. Clearly visible, the portrait of a wrinkled curtain exposes the delicate character of this temporary structure.

    C‐print, 20x30 inches

    Somewhere Over

    Emphasizing the impossibility to duplicate that, which is beyond grasp and fixity, the gaseous permeability of a rainbow's atmosphere is depicted as a solid outline. Drained of its hue, this color photograph denies the spectrum inherent to rainbows.

    C‐print, 30x40 inches

    Space is Contagious thumbnail
    Green Screen thumbnail
    Narcissus thumbnail
    Like a Wake thumbnail
    (Holey) Space thumbnail
    Situation Involving thumbnail
    A Cover thumbnail
    Direct Attention thumbnail
    Conspicuous Compartment thumbnail
    Somewhere Over thumbnail

    rachel@rachelgranofsky.com

    rachelgranofsky.com

    Artist Statement

    My process is directed by an exploration of possibilities within a set of constraints. The rule of the
    un-manipulated print challenges me to create composites by hand without the use of post-production
    editing techniques. I assemble pieces of drawn, painted and sculpted forms to
    converge for the precise point of view of my camera until the intended spatial distortion takes
    shape. Paralleling the flat surface of the print, three-dimensional elements are aligned to collapse
    perspective through the lens, blurring distinctions between mediums in the final photograph. The
    detailed focus conversely reveals the tactile seams of my tenuous construction. These slippages
    interrupt continuity to pose questions about the coherence of photographic representation and the
    construction of the still frame.
    In a game of adaptation, I tailor my materials specific to individual environments to transgress its
    boundaries and modify structure into liminal space. In the control of my studio or the contingency
    of the street, I demonstrate the degree to which I can alter perspective through the positioning of
    sculptural forms. Like a shape-shifter in a continual remapping of place, I meet change with a
    developing set of responses that evolve relative to the conditions of my circumstance.