School of Visual Arts (SVA) presents “Dot Dot Dot,” an exhibition of thesis work by the MPS Digital Photography class of 2022. Curated by New York City gallerist and SVA faculty member Debra Klomp Ching, “Dot Dot Dot” is viewable from Wednesday, September 28 through Monday, October 17, at the SVA Gramercy Gallery, 209 East 23^rd Street, New York, NY.

In explaining the title, exhibition curator Debra Klomp Ching says, “In this context, certainly the reference to a mechanical form of image reproduction is clear; it’s not much a of jump from the Ben-Day Dot to the digital pixel. But this idea of pausing, taking stock and perhaps an acknowledgement of not quite being finished—is what is very relevant here too.

Each of the exhibitors have conceived, researched, developed, pivoted, resolved and produced a body of photographic artworks in a very short period of time. As part of the process of graduating, they have entrusted their work to a third party—myself as curator; to interpret and selectively present a summarized version of their larger vision, which may well remain in that space … of being unfinished, not yet complete, still evolving. It’s a creative relationship that obligates them to let go, stand back and have their work thrust into a public space for the first time. Perhaps, once the work is shown and the public respond, they will pivot again and (re)present their work with its nuances contextualized a little differently … so watch their/this space. Dot dot dot …”

MPS Digital Photography Chair Tom P. Ashe expands, “The waiting and anticipation inherent in the title ‘Dot Dot Dot’ is also reflected in the fact that twelve of our sixteen artists deferred their admissions to the program for a year. They waited for the timing to be right. They waited so they could be physically with our faculty, our community and each other here in New York. Upon seeing the exhibition, we think you’ll agree, it was worth the wait.”

The photographs by John Blue in “You Never Tell Me You Love Me” document the sex and drug trade of New York’s impoverished Hunt’s Point neighborhood, attempting to validate and bring attention to its long-ignored and disparaged residents. Gung Chen’s “Under Pressure” is a series of expressionistic self-portraits that address the widespread depression felt by young people as a result of social and familial pressures and the COVID-19 pandemic.

Xi Chen’s “Inside Out” depicts the exterior and interior of important buildings in a single image, aiming to bring a unique humanistic perspective on New York City’s landmarks. While Yu-Yu Demi Chen in her project “Irreversible” uses a symbolic language to create portraits and still lifes that capture the COVID-19 pandemic’s enduring psychological effects.

In her project “Juxtapose” Zona Guan compares how six dancers aged five to 31

interpret classical Chinese dance under the combined influence of their Chinese and Western cultural backgrounds. “Whisper: A Diary” consists of three-dimensional photographic sculptures that express Sally He’s personal feelings of depression and anxiety.

“Edges” is a series by Chris King of studio nudes that uses rim lighting to highlight the contour of the human body in order to create images of both static pose and overlapping movement of the human body. In her project “Nano Society” Jay Kwon takes technology’s familiar, futuristic concept as a visual metaphor, turning photographs into 3D-printed art objects that capture society’s increasing isolation and fragmentation.

Xiaohan Grace Lu’s series “Premium Mediocre” uses the language of fashion photography to explore the way young people use luxury goods to create fanciful, glamorous profiles on social media. The photographs in Gloria Nelson’s “Crossing the Hudson” were taken along the fifty-mile stretch of the Hudson River between Bear Mountain Bridge to New York Harbor, documenting the structures and environments that tell its human and natural story.

Set in 1950s America, Andrew Parsons’ “The Coopers” mixes fashion photography with horror film motifs and aesthetics to depict a seemingly ideal family with a dark side, while Siqi Qin uses the language of fashion photography to capture and depict the feeling of “Tension.”

Shuwen Song’s “Emotional Eating” uses digital compositing techniques to combine photographs of herself interacting with her favorite snacks and treats to explore her complex relationship with food. “Nightmare” uses stop-motion photography to produce an animated video that recreates scenes from Isa Wang’s own dreams, making the project in effect a moving self-portrait.

“Eight Bells” is an underwater documentary project by Ethan Yi about the USS Spiegel Grove, a ship that was purposefully sunk in 2002 and has become one of the largest artificial reefs in the world. Finally, “UnFrame: Relationship” explores Man Zhu’s subconscious mind and intimacies using an abstract visual language based on the principles of semiotics, the analysis and interpretation of signs and symbols.

The SVA Gramercy Gallery is open Monday – Saturday, 10:00am – 6:00pm. In accordance with SVA COVID-19 protocols, daily in-person visitation is limited to SVA students, faculty and staff.

The public may attend the exhibition reception by registering at least 48 hours in advance; to register, click the button at the top of this page. All visitors must show proof of vaccination (including booster, if eligible) and remain masked while indoors.