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ON VIEW: April 16 - 20
WHERE: East & Peggy Phelps Galleries | Claremont Graduate University

Aggregate as Self is a group exhibition that explores how we engage with, process, and implement the diversity of information at play in contemporary life.

Curated by Sotheby’s Institute of Art, Los Angeles graduate students as part of the Curatorial Practices course led by Los Angeles curators Alma Ruiz and Irene Tsatsos, the exhibition brings together five Claremont Graduate University MFA alumni whose interdisciplinary works invite a deeper look at aggregation and adaptation of information into constructs of personal and cultural identity.

The opening reception will take place on April 17 at 6pm. To RSVP email


Adrienne DeVine uses a variety of materials and processes to investigate different forms of visual communication. Referencing texts, objects, and other media of pre-colonial indigenous peoples, she creates art that blurs the boundary between traditional function and modern abs- traction. Through her daily practice of creative expression, DeVine interweaves ideas and matter into visual forms that are intended to capture, challenge, and delight the imagination of the viewer.

Iain Muirhead uses paint, objects, photography, installation, and video to break apart and reconfigure form and space. His work seeks to cultivate instability and possibility in a world of massive change. Conjugation, systemic complexity, and creative destruction characterize his interdisciplinary work.

Liz Nurenberg uses fabric, upholstery foam, and polyfill to create interactive soft sculptures that transform a gallery space into a playground, inviting everyone to interact and play with art. She is interested in art that counteracts isolation; art that enlists the full body and appeals to multiple senses while exploring intimacy, awkwardness, and personal space.

Evan Trine works with photographic capture and digital processes. His abstract works are the result of conflating all the colors of a photograph into one pixel. Trine considers the pixel both all-encompassing in regards to the totality of data used to create it and entirely void of any critical reference. This echoes the growing social pattern towards a dependency on rapid information ingestion. These concepts, paired with the physical qualities of the work stemming from their digital creation and manufacturing, stand to challenge traditional ideas about image making in fine art.

Christine Salama works in encaustic to create images and objects that focus on the experience of physical and ethereal spaces. In Ancient Egypt, painting a portrait in encaustic was a way of commemorating the dead. Life after death was anticipated, but not fully known to the living. Salama’s works often consider the seen and the unseen, places that are both familiar and unfamiliar, and a world that is oftentimes difficult to fully comprehend, quantify, or rationalize. Her work meditates on the essence of historical memory, and the experience of a fluid sense of space, culture, and time.


Julie House Adams, Waheeda Al Hadhrami, Arianna Biering, Livia Bowman, Vanessa Canas, Michelle Chavez, Tianqi Chen, Perris Claeyssens, Linda Dzhema, Siyao Gao, Yuanyuan Jiao, Siyu Lu, Ekaterina Pikhoya, Saranne Richter, Phoenix Rodman, Jill Steggall, Sneha Suresh, Mai Thi Phuong Ta, You Wu, Xiao Ying