I create paintings, sculptures, and rubbings to pay tribute to the earthly beings found within my immediate surroundings. I use indexical processes that stain, trace, and record to preserve a moment in time. The process of rubbing is a tactile and meticulous activity of excavation. It is an imprint of what was once there, a mapping of attentive contact. The works are dependent upon the physicality of the host as I engage directly with the plants, seeds, weather, and trees that surround me. The rubbing’s flatness actively constructs a new reality; a liminal space hovers between the impression and the real world, creating a sense of something both absent and present.
My work results from an accumulation of physical actions and systems for making. I emphasize touch as a physical tool to slow down our initial visual perception and understanding. It is through the making process that I begin to understand my sentiment for my environments and their complexity. Rather than stepping back to take in monumental vistas, close investigation of our world may give us new insights into understanding nature and our role within it.
This text follows the meandering path of doubt, questioning, and ways of working that I have developed in my recent practice. I examine my relationship to walking as a means for discovery within my surroundings, touch as a tool for connection, and play as a process to express joy. I reference work by Rebecca Solnit that grounds my wonderings towards time, sentiment, and place. I also discuss the work of artists Do Ho Suh, Michelle Stuart, and Ree Morton, among others, as they inspire and relate to my practice.
","abstract_html":"<p>I create paintings, sculptures, and rubbings to pay tribute to the earthly beings found within my immediate surroundings. I use indexical processes that stain, trace, and record to preserve a moment in time. The process of rubbing is a tactile and meticulous activity of excavation. It is an imprint of what was once there, a mapping of attentive contact. The works are dependent upon the physicality of the host as I engage directly with the plants, seeds, weather, and trees that surround me. The rubbing’s flatness actively constructs a new reality; a liminal space hovers between the impression and the real world, creating a sense of something both absent and present.</p> <p>My work results from an accumulation of physical actions and systems for making. I emphasize touch as a physical tool to slow down our initial visual perception and understanding. It is through the making process that I begin to understand my sentiment for my environments and their complexity. Rather than stepping back to take in monumental vistas, close investigation of our world may give us new insights into understanding nature and our role within it.</p> <p>This text follows the meandering path of doubt, questioning, and ways of working that I have developed in my recent practice. I examine my relationship to walking as a means for discovery within my surroundings, touch as a tool for connection, and play as a process to express joy. I reference work by Rebecca Solnit that grounds my wonderings towards time, sentiment, and place. I also discuss the work of artists Do Ho Suh, Michelle Stuart, and Ree Morton, among others, as they inspire and relate to my practice.</p>","abstract_has_math":false,"creators":["Schenker, Anna"],"institution":null,"degree_name":"Master of Fine Arts (MFA) in Visual Art","degree_level":"Thesis","degree_discipline":"Graduate School of Art","degree_department":null,"school":null,"contributors":["Heather Bennett","Lisa Bulawsky","Abigail Flanagen"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2023,"date_issued":"2023-05-10T07:00:00Z","date_published":"2023-05-10T07:00:00Z","updated_at":"2026-07-24T06:12:25Z","subjects":["Anna Schenker","Rubbings","Indexical process","Painting","Sculpture","Rebecca Solnit","Do Ho Suh","Helen Mirra","Dona Nelson","Jennifer Bornstein","Art and Design"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/pbp2-k624"],"render_values":[{"text":"https://doi.org/10.7936/pbp2-k624","href":"https://doi.org/10.7936/pbp2-k624","code":true}]}]},"links":{"outbound_url":"https://openscholarship.wustl.edu/mfa_visual_art/10","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Heather Bennett","Lisa Bulawsky","Abigail Flanagen"]},{"key":"dc:creator","label":"Author","values":["Schenker, Anna"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2023-05-10T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Graduate School of Art"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Fine Arts (MFA) in Visual Art"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Anna Schenker","Rubbings","Indexical process","Painting","Sculpture","Rebecca Solnit","Do Ho Suh","Helen Mirra","Dona Nelson","Jennifer Bornstein","Art and Design"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://openscholarship.wustl.edu/mfa_visual_art/10"]},{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.7936/pbp2-k624"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["I create paintings, sculptures, and rubbings to pay tribute to the earthly beings found within my immediate surroundings. I use indexical processes that stain, trace, and record to preserve a moment in time. The process of rubbing is a tactile and meticulous activity of excavation. It is an imprint of what was once there, a mapping of attentive contact. The works are dependent upon the physicality of the host as I engage directly with the plants, seeds, weather, and trees that surround me. The rubbing’s flatness actively constructs a new reality; a liminal space hovers between the impression and the real world, creating a sense of something both absent and present.
My work results from an accumulation of physical actions and systems for making. I emphasize touch as a physical tool to slow down our initial visual perception and understanding. It is through the making process that I begin to understand my sentiment for my environments and their complexity. Rather than stepping back to take in monumental vistas, close investigation of our world may give us new insights into understanding nature and our role within it.
This text follows the meandering path of doubt, questioning, and ways of working that I have developed in my recent practice. I examine my relationship to walking as a means for discovery within my surroundings, touch as a tool for connection, and play as a process to express joy. I reference work by Rebecca Solnit that grounds my wonderings towards time, sentiment, and place. I also discuss the work of artists Do Ho Suh, Michelle Stuart, and Ree Morton, among others, as they inspire and relate to my practice.
"]},{"key":"dc:title","label":"Title","values":["Dear Sycamore"]}]}],"canonical_facts":{"dc:contributor":["Heather Bennett","Lisa Bulawsky","Abigail Flanagen"],"dc:creator":["Schenker, Anna"],"dc:date.available":["2023-05-10T07:00:00Z"],"dc:description.abstract":["I create paintings, sculptures, and rubbings to pay tribute to the earthly beings found within my immediate surroundings. I use indexical processes that stain, trace, and record to preserve a moment in time. The process of rubbing is a tactile and meticulous activity of excavation. It is an imprint of what was once there, a mapping of attentive contact. The works are dependent upon the physicality of the host as I engage directly with the plants, seeds, weather, and trees that surround me. The rubbing’s flatness actively constructs a new reality; a liminal space hovers between the impression and the real world, creating a sense of something both absent and present.
My work results from an accumulation of physical actions and systems for making. I emphasize touch as a physical tool to slow down our initial visual perception and understanding. It is through the making process that I begin to understand my sentiment for my environments and their complexity. Rather than stepping back to take in monumental vistas, close investigation of our world may give us new insights into understanding nature and our role within it.
This text follows the meandering path of doubt, questioning, and ways of working that I have developed in my recent practice. I examine my relationship to walking as a means for discovery within my surroundings, touch as a tool for connection, and play as a process to express joy. I reference work by Rebecca Solnit that grounds my wonderings towards time, sentiment, and place. I also discuss the work of artists Do Ho Suh, Michelle Stuart, and Ree Morton, among others, as they inspire and relate to my practice.
"],"dc:identifier":["https://openscholarship.wustl.edu/mfa_visual_art/10"],"dc:identifier.doi":["https://doi.org/10.7936/pbp2-k624"],"dc:language":["English"],"dc:subject":["Anna Schenker","Rubbings","Indexical process","Painting","Sculpture","Rebecca Solnit","Do Ho Suh","Helen Mirra","Dona Nelson","Jennifer Bornstein","Art and Design"],"dc:title":["Dear Sycamore"],"thesis:degree_discipline":["Graduate School of Art"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Fine Arts (MFA) in Visual Art"]},"updated_at":"2026-07-24T06:12:25Z"}