SEM 1 Approach


email –

phone – 617-983-9313 


Rebecca DiDomenico’s Website



I plan to explore my materials in new ways, working with casting, irregularly shaped canvases, and drawing on mylar.  I plan on experimenting with how ornament is related to my work via its origins in the organic, natural world from which it was derived.  I am also interested in breaking the traditional method I have grown accustomed to of working with a rectangular perfect surface.  Using my favorite materials (lace, animal artifacts, feathers, bones, mylar, resin) and some new processes/materials (gelatin, photography, site specific installation) I will stretch my understanding of all aspects that astetically inform my work.

All of the following notions will be challenged:

  • beautiful/ugly
  • materials being permanent/impermanent
  • illusion/reality


Sacred/Nature/Scientific Relationship

I plan on researching the relationship between the sacred and nature, which has been the underlying motivation behind my work.  This includes exploring the sense of awe and wonder, respect for biological diversity, and evolution of species.  Because both scientific understanding/research AND the spiritual components are strong in my work, I will look to other current and historical artists working in similar ways.   I am curious to see how artists from all mediums handle the idea of illusion, trickery, and the space of imagination in order to deliver a complex message.  (Inevitably I will intersect with artists working on the topic of climate change, which is a theme I will inevitably explore throughout my Graduate Studies.)


  • Walton Ford, James Audobon, Mark Dion, the Hudson River painters, Earnst Haekle, Alexis Rockman, Rousseau, Robert Smithson, Salviati, Runge, Karl Blossfeldt, and Julie Heffernan, Jane Marsching.


  • “More Real: Art in the Age of Truthiness” by D. Graham Bernett
  • “Sacred Depths of Nature” by Ursula Goodenough
  • “Survival of the Beautiful” by David Rothenburg
  • “Modern Painting and the Northern Romantic Tradition” by Robert Rauschenberg
  • “Levels of Unreality” by Sven Sandstrom


February 1 – Residency Summary (3-4 pages)…I will discuss conflicting ideas discussed during residency, culminating in several directions that my work can take over the ensuing semester.  I will outline my chosen books, potential exhibitions I plan to attend, and artists whom I have elected to study.
March 1 – Critical Theorry I Readings paper (3-5 pages)…Robert Smithson
April 1 – Comparative Analysis (3-5 pages)…Walton Ford and Julie Heffernan
May 1 – Open Topic Research Paper (3-5 pages)…Decay and Preservation in Art
June 1 – Semester Summary (3-5 pages) Accomplishments listed and self-evaluation of both Studio and Academic work over the semester.  Plans for the following semester, updated artist statement, and bibliography will be included.


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