Christina McPhee in Challenging Concepts through Art

The first article I read on McPhee was the following:,045_.html

In this article, the writer discusses McPhee’s diverse and various approaches in topics and her own assertions of art that essentially comment on these areas. In this case, McPhee is noted to have previously significant art pieces that underline and challenge issues surrounding environmental disruptions and ecological traumas. In fact, the article introduces a few of McPhee’s works and the ways in which these environmental crisis’s (like global climate change and oil spills) are implicated and interwoven into her own art pieces. The article further lists museums/venues in which her art has been featured; these places include her installations that have been noted further on the website. Referring back to McPhee’s website, it is interesting to see how she merges art and commentary together in a way that can express data and concepts through paintings, photos, etc.


The second article I read was McPhee’s own commentary on her personal inspirations:

McPhee introduces the ways in which she is able to translate her own sonic and conceptual ideas into percussive and physical 2-D methods. In other words, McPhee explains how her own experiences in visualizing synesthesia and her desire to make tangible the images in her own mind are further inspected in her techniques in creating a painting. For example, McPhee explains how she can feel limited to the physical modes of expression, but is able to symbiotically produce art that can capture the constraint within “the linear thresholds of the canvas.” In fact, McPhee further comments on her perception of art as percussive in the means that she is able to quantify and translate her own experiences within music into physical expressions of art. In conclusion with this article and her personal website, McPhee uses her paintings as a way to showcase the frustration and beauty in capturing emotions and concepts through the physical boundaries of painting. Ultimately, she has learned how to manipulate physical technologies so that they produce emotional and conceptual responses.


The last article I looked further into was the following:

This article is a biographical commentary and introspection on McPhee’s background in her personal life, as well as her artistic motivations. In fact, the article discusses how she often uses various modes of expression (as also stated on her website) in order to produce quantifications and visualizations of thematic emotional events. Furthermore, the article mentions McPhee’s background at Scripps College, Claremont; Kansas City Art Institute; and Boston University. In addition, the article also mentions a few of her other notable collections at various museums. An audio file attached to the article also includes an interview of McPhee talking about her interpretations of physicality (especially in Muslin-Duns). She expresses how she prefers to work on her pieces of work in short intervals so that they are not excessive; to clarify, she explains how the more she works on a piece, she feels as if it feels somewhat stripped from its natural integrity. By doing so, McPhee’s works are essentially her own explanations on how she perceives concepts in visual media.


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