{"id":5,"date":"2026-04-07T02:40:12","date_gmt":"2026-04-07T02:40:12","guid":{"rendered":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/?page_id=5"},"modified":"2026-05-01T03:45:39","modified_gmt":"2026-05-01T03:45:39","slug":"2026-2","status":"publish","type":"page","link":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/2026-2\/","title":{"rendered":"2026"},"content":{"rendered":"\n
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Embedded<\/em><\/strong><\/p>\n\n\n\n

76″ x 68″<\/p>\n\n\n\n

Oil and charcoal on canvas<\/p>\n\n\n\n

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A painting of incoherent stories we are taught about ourselves, but can never seem to replicate. Here, wrought iron forms reflect the structures we are contemporaneously reliant on for support, entwine with, yet also evade. Tactile and sensory differentiation between the cold, unwavering metal, and soft blankets represent simultaneous comfort and restriction. Inspired by Continental philosopher Michel Foucault’s concept of Biopower, or the progression from State enforcement of biological functions and social behaviors \u2014such as through eugenics, education systems, and corporal punishment\u2014-to policing and regulation on the individual level. This work calls into question areas of retrograde, diffusion, alienation, and assimilation. Where, when, and how do we reproduce assumed external social structures, especially when they are discordant with our internal moral values and contingent on marginalization and violence? 
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View II, View I, and View III <\/em>(From top to bottom) exhibited in Do Not<\/s> Enter<\/em> at the Blanchard Gallery. <\/figcaption><\/figure>\n\n\n\n
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Three Views of MASSMoCA<\/em><\/strong><\/p>\n\n\n\n

12″ x 24″<\/p>\n\n\n\n

Silkscreen, concrete, mesh, silk organza, ink, acrylic, cardboard, canvas. <\/p>\n\n\n\n

This triptych demonstrates how memories necessarily develop from events and <\/em>intangibilities such as mood, ideology, and nonlinear relationships with other memories. This stands in sharp contrast to uncritical faith in memory as an objective record of the past, or even more subtly memory as originally <\/em>essentially accurate and only later perverted by subjectivity. Repeating silkscreen prints of the exterior of the Massachusetts Museum of Contemporary Art echo the illusion of stability and objectivity we attribute with memory. Despite the same core image, each segment of the triptych is manipulated to highlight how one scene of our lives can be pushed or pulled in vastly different directions. <\/p>\n\n\n\n

MASS MoCA is one of the largest contemporary art museums in the world, but the sprawling facility is a converted factory complex. It has lived a rich and textured life, which is physically marked on the buildings with phantom impressions of torn down walls, sealed-off windows, and the imprinted shadow of staircases which are no longer. Within MASS MoCA’s structure, these histories beautifully condense, collapsing the past and present in one physical structure, one being\u2013unified, and yet still fragmented, as our own remembrances all are. <\/p>\n\n\n\n

These three works are inspired by the photography work of Nicholas Whitman, who captured the same post industrial landscape in its period of abandonment after the Sprague Electric Company shut down but before the site was reconstructed as MASS MoCA. 
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Two Bunnies, Four Apples, and a Worm<\/strong><\/em> A<\/em><\/strong>
36\u201d x 43\u201d
Silkscreen tapestry on repurposed fabric.<\/p>\n\n\n\n

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Sketch of Rounded Form<\/em><\/strong>
6.5\u201d x 4.75\u201d
Ink on paper drawing.

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Tethered<\/em><\/strong>
8″ x 8″
Multimedia encaustic painting on canvas.
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Two Bunnies, Four Apples, and a Worm<\/strong><\/em>
22\u201d x 18.5\u201d
Silkscreen print on paper.
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Embedded 76″ x 68″ Oil and charcoal on canvas A painting of incoherent stories we are taught about ourselves, but can never seem to replicate. Here, wrought iron forms reflect the structures we are contemporaneously reliant on for support, entwine with, yet also evade. Tactile and sensory differentiation between the cold, unwavering metal, and soft […]<\/p>\n","protected":false},"author":2932,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-5","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/pages\/5","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/users\/2932"}],"replies":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/comments?post=5"}],"version-history":[{"count":12,"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/pages\/5\/revisions"}],"predecessor-version":[{"id":121,"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/pages\/5\/revisions\/121"}],"wp:attachment":[{"href":"https:\/\/commons.mtholyoke.edu\/cosimaeyre\/wp-json\/wp\/v2\/media?parent=5"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}