"Morning Routine," Grace Cherubino

Meaning arises out of context—and lack of context. A new course at COA, Multiples in Photography: Creating Context, explores this dynamic of understanding. Works from the course utilize double, triple, and multiple presentations of images (in the forms of diptychs, triptychs, quadtychs, and even quartychs and books!) as a means of developing photographic narrative technique; thinking about multiple ways of seeing; and ultimately, in the words of fourth-year student James Liepolt, “creating a photograph that conveys a greater message than any single photograph can.”

Visiting artist Denise Froehlich, who is teaching the course, says that a photographer can often “say more” with multiples—creating narrative tension and fields of reference for comparison and juxtaposition.

For the course, several students even created photographs in grids. These range from the traditional, such as Vivian Phillips’ “Sunset Tree,” in which a tree sits within a 15-frame grid, to the pointedly comic. Grace Cherubino’s grid, for instance, focuses on a man shaving; in one portion of the grid, however, there’s a woman shaving a painted-on mustache and beard. Adding a further twist to the concept of multiples in photography, the woman happens to be Cherubino’s identical twin—who did a photography independent study with Froehlich. Her work includes poetry added to a photographic book created by student Natasha Jet Logan.

All of the works (some of which may be seen below) are black and white giclee prints, many are arranged in a non-traditional manner, and a few utilize mixed media and alternative methods of installation.

The course concluded with a gallery show celebrating the student’s hard work. Images of the Multiple’s Blum Gallery Show can be seen on COA’s Flickr Photostream.

"Kerouac," Tatiana Aguayo

"Kite", River Black

"Sunset Tree," Vivian Phillips

Natasha Jet Logan

"Untitled," Katie Holler

"Untitled (tryptic)," James Liepolt

"Success," Hannah Stevens

"Arges Watchin Io," Willy Eckley

"Reverse Echo," Aishath Mohamed

"Nature's Knife," Willy Eckley

Anne Ariles

"Liquid Dream," Angelica Ullauri

Amelia Eshleman

"Oedipus Rex," Vivian Phillips

"Leap of Faith," Zach Whalen

"Dead Owl," Vivian Phillips

"Closing the Circle," Zach Whalen

"Free," Aishath Mohamed

"Identity," Grace Cherubino

"F*ck is a dirty word/But it comes out clean," River Black

"Untitled," Margaret Soles

Photo of the Blum Gallery Showing

Historical Research, Fiction, and “The Life of a Samurai Woman”

Featured COA sophomore, Brianna Larsen

Brianna Larsen (’11) is a classic COA student—curious, resourceful. “One of the most important things I’ve learned at COA,” she says, “is that it’s not only okay to ask questions, but that it’s essential to the learning process that we ask hard questions—even if the answers to those questions aren’t out there yet.” So Brianna asks and asks. Accordingly, she has been a broad seeker during her time in college: Brianna’s favorite courses at COA so far include Introduction to the Legal Process, Modern Afro-Caribbean Dance, Marine Biology, Theater Workshop, and the currently-underway Maine Woods “Monster Course”—which combines courses in amphibian biology, experiential education, and conservation philosophy and policy with field trips to the Maine Woods for a full term’s worth of credit. (Be sure to check this blog again in November for examples of student work from the “Monster Course.”)

“Through the study of Human Ecology,” Brianna says, “I have been challenged to see problems from a multi-dimensional view and to try to solve them by collaborating resources, information, and energies toward a common goal.”

One of these goals was the completion of a final project for another of her favorite courses, Troubadours, Nuns, Witches, and Concubines 500—1400, a history and writing seminar on women’s often-surprising roles in the societies of pre-modern Asia and Europe. After reading up on her chosen topic, samurai women, Brianna decided to add a historical fiction component to her research essay. For “The Life of a Samurai Woman,” she says, “I wrote letters [excerpted below] from two real samurai women about a fictitious friendship.”

“‘… As a woman of a warrior clan I do not doubt that you know the pain of losing a samurai man. There is no greater hurt, no greater sorrow than restructuring your life around an empty heart. We are taught from a young age to transcend our personal servitude to life and death and achieve a place of no-minded-ness …yet we must learn how to live past the death of our lovers on our own. …’

An image used in Larsen's PowerPoint presentation.

‘… It is not right for samurai to fear or confront death; as you must know it goes against every bone in our bodies, every virtue squeezed into our blood.  For those of us who know the way there is no other way, no other choice but to leave life and death behind.  Even so, it is impossible for us to neglect our human selves. I may live as a warrior during the day; but at night I feel … not simply as a woman feels, but as a human feels.  I do not consider our love weaknesses, but merely an enemy’s blade, ever sharp and ready to pierce the heart and bring us back to the reality that is this life. …’

‘… My husband never fought by your side, he was one of the enemy.  My husband rode into battle with the one thought of stripping your husband of the shogunate and gaining power for himself by fighting for the will of Kiso Minamoto Yoshinka. I did not utter this truth sooner for fear that you would turn me away, my questions unanswered. I apologize. I am lost without my husband and want to know what became of the men still alive at the battle’s end. Please respond … do not leave me in the dark. …’

‘… Though I do not blame you for your actions I feel it is best if we cease the exchange of these letters.  My husband’s honor will always be foremost in my mind and I am sure that he would be angered to know that I maintained a friendship with his enemy. My love for him is still too great to do anything that would cause him such distress. Even so, I will think of you often and envision your success in maintaining the shogunate. Live well.

Yours in the Way. …’”

Image used in Larsen's PowerPoint Presentation

Reflecting on her work, Brianna says, “My courses at COA continue to stretch my mind in new and exciting ways, constantly reshaping my ideas about the world and my role in it.” Instead of focusing on one area of study, Brianna has explored a broad, complementary array of topics in the sciences, arts, and humanities. Her resulting ability to synthesize and make connections across disciplines is reflected in “The Life of a Samurai Woman.” A research essay and a work of historical fiction, Brianna’s project operates both analytically and emotionally in a powerful combination that the course’s instructor, Katharine Turok, calls “groundbreaking.” Multiple parts which make the whole stronger? That’s Human Ecology. And it’s all in a term’s work …

Michael Griffith