Senior thesis exhibitions take a look into artistic souls

Greis has created an autobiographical narrative in several "chapters" that read from right to left. Each drawing is accompanied by a paragraph recounting the interactions of characters that are representative of the aspects of her personalities: "The Glowing One," "The Tempest One" and "The Nameless One." In her artist statement, Greis wrote that these interactions "bring about both turmoil and peace."

In "Purple Smoke, Pulsing Shadows" the main character is surrounded by murkiness and stylized purple smoke. Greis wrote in the accompanying chapter: "The darkness throbbed like a vein. She was alone, nameless and forgotten in the void." Greis's artistic style remains consistent as the story continues throughout the series. In her artist statement, Greis referred to her art as a "stylized Western comic fashion mingled with Japanese manga." The figures are created in the bishoujo style and feature bright, fully saturated colors. The "chapters" and animated style help the viewers to fully grasp the characters' personalities, carrying them along on the journey.

Kulik's exhibit of four large-scale charcoal drawings was inspired by his trip to Florence, Italy, where he saw Michelangelo's David juxtaposing Robert Mapplethorpe's enormous photographs. "What I derived from the exhibit was the theme of monumentality," he explained in his artist statement.

"Sto Lat," like Kulik's other works, demonstrates his ability to capture a surprising amount of realism and personality in his portraits. In his artist statement, he wrote that he tried to "catch people in the act of being people, rather than static, posed portraits." It is clear that Kulik's memories of the family members portrayed play a large role in his style, as does as his ability to create volumetric forms through dramatic contrast. He successfully captures what he refers to as a "transfer of qualities between 3-D sculpture work and 2-D work."

Enerson's mixed media pieces, compositions of combinations of copper, wood and yarn, appear to be functional vessels that have formed organically rather than mechanically. Her artist statement speaks to the question of what exactly constitutes a successful vessel. She explained, "What I wanted to see was if you could challenge what a vessel can hold;" she decides that what the vessel holds does not necessarily have to be tangible. This is evident in the heavy attention paid to detail work on the outside of the forms, and in the vessel titled "Light," which holds but cannot fully contain light itself.

The patina work on the outside of the copper vessel, "Light," is beautiful, and the tubular rivets that hold it together are arranged vertically, allowing light to escape in a pattern that juxtaposes the horizontal slits near the top of the vessel. "Light," like Enerson's other pieces, tackles both form – aesthetic beauty – and function.