REVIEW: Look-Alike Dance Performance At Dearborn

Photo Credit: IGSAB

The Look-Alike Dance Performance, presented by IGSAB, transformed Kochoff Hall into a stage for some of the most captivating performances of the night on January 24th. This unique event challenges dancers to embody the styles and personas of iconic performers, paying tribute while adding their own artistic flair. With a lineup of around a dozen participants, each dancer was either preselected or volunteered to represent a well-known figure, ranging from Bollywood superstars to classical legends. Some performances were solo acts, while others featured duets or group numbers, creating a dynamic and diverse showcase of talent.

 

 

Photo credit: IGSAB

Rohan Mehta delivered an electrifying performance inspired by Bollywood superstar Hrithik Roshan, known for his foot-tapping numbers and effortless moves. The moment Rohan stepped on stage, he exuded confidence, and his dynamic presence instantly captured the audience’s attention. His footwork was razor-sharp, every turn executed with finesse, and his energy never wavered.

What set Rohan apart was not just his ability to replicate Hrithik’s style but his command over the stage. He didn’t just perform; he owned every beat, letting the rhythm drive his movements. His transitions between power moves and fluid sequences kept the audience engaged, and his charisma added a natural flair that made the performance all the more compelling.

However, at times, the transitions between sequences felt slightly abrupt, making certain parts of his act seem less seamless than they could have been. Despite this minor flaw, Rohan’s presence and energy made up for it, and the crowd responded with resounding applause. His ability to engage the audience and maintain his stamina throughout a demanding routine spoke volumes about his dedication to the craft.

Photo Credits: IGSAB

On the other end of the spectrum was Sana Malik, who embodied the grace and elegance of Madhuri Dixit in Dola Re Dola. As she stepped onto the stage, adorned in a flowing green and gold costume reminiscent of Devdas, a wave of excitement rippled through the audience.

Her performance was a masterclass in classical dance, marked by delicate yet powerful movements. Every footstep was placed with precision, her hand gestures flowed effortlessly, and her expressions told a story that resonated with the audience. Unlike the high-energy performances of the night, Sana’s act was all about finesse; she captivated not through speed or power but through sheer artistry and control.

While her technical execution was flawless, adding a bit more audacity—stretching her movements farther, expanding her presence on stage—could have made an already stunning performance even more powerful. Classical dance thrives not only on precision but also on projection.  Still, her mastery over the art form was undeniable, and she left the audience in awe.

Both Rohan and Sana brought something uniquely beautiful to the stage—one with raw, explosive energy and the other with poised, classical elegance. Together, they embodied the true essence of the Look-Alike Dance Performance: movement, talent, and transformation.

More than just a showcase of mimicry, the event was a celebration of dance as a performing art, blending cinematic inspiration with personal expression. As the night came to a close, the energy in the room remained high, a testament to the lasting impact of these unforgettable performances.

REVIEW: The Best Kept Secret: Student/Faculty/Alumni Art Exhibition

Walking through Best Kept Secret: Student/Faculty/Alumni Art Exhibition at the Stamelos Gallery, I felt that familiar rush—when art doesn’t just sit on a wall but reaches out and grabs you. Some pieces hit me immediately, demanding attention with their boldness, while others worked more quietly, drawing me in over time. What stayed with me were the ones that sparked something deeper—a sense of curiosity, nostalgia, or even discomfort. As an artist myself, I know how much intention goes into every brushstroke, every composition choice, and every texture. Seeing these works in person, I couldn’t help but think about what decisions led each artist to their final piece, how they balanced control and spontaneity, and what emotions they left embedded in the canvas.

Photo Credit: Mardigian Library

Aleesia Sciacca’s piece immediately caught my attention with its playful yet surreal composition. The smiling figure, rendered in what looks like thick, almost clay-like strokes, feels simultaneously whimsical and unsettling. There’s a childlike joy in the exaggerated, almost cartoonish elements—the floating hearts, the bright colors—but the presence of the knife, the dismembered arms, and the eerie face reflected in the table add a layer of unease. It’s a clever juxtaposition of innocence and something darker, which I admire. The textured, almost sculptural quality of the paint enhances the tactile experience, making me wish I could reach out and feel the surface. As someone who works with different media, I appreciate how Aleesia uses texture to enhance the meaning of the piece rather than just for aesthetic appeal.

Photo Credits: Mardigian Library

Paige Allen’s painting feels like a breath of fresh air—literally. It perfectly captures that quiet, contemplative moment of looking out the window on a winter day. The contrast between the lush greenery inside and the stark, snow-covered world outside is beautifully handled, both in terms of color balance and brushwork. The organic, loose strokes in the plants make them feel alive, almost growing beyond the edges of the canvas, while the background’s subdued tones keep the scene grounded. There’s a lived-in warmth to this piece, as if we’re peering into someone’s personal space. I especially appreciate the way light is handled here—subtle, diffused, natural. It’s not easy to capture the way winter light filters through a window, but Paige does it masterfully. This piece resonated with me because it feels like a moment I’ve lived—one of those in-between spaces of time where everything is still, yet full of quiet energy.

Dr. Madeline A. Berkay ’s charcoal drawing is raw and aggressive in the best way. The stark contrast, the exaggerated expressions, and the almost grotesque rendering of both figures make it impossible to look away. There’s a primal energy to it—two entities locked in an unrelenting confrontation. The creature on the left, with its snarling, exaggerated mouth, mirrors the human on the right, blurring the line between them. I find this fascinating because it challenges the idea of who (or what) is the real monster. The rough, almost frantic strokes add to the intensity, making it feel like this argument is happening in real-time. As someone who has worked in charcoal before, I admire the control Dr. Alexa has over the medium—it’s easy to let it get muddy, but she keeps the contrast sharp and intentional. This piece makes you uncomfortable, and I think that’s exactly the point.

Leaving the Best Kept Secret exhibition, I found myself replaying certain images in my mind, as if the pieces had imprinted themselves in a way I couldn’t shake. Each artwork spoke its own language—some playful, some deeply introspective, others confrontational—but all carried a distinct presence. What struck me most was the raw honesty behind them. As an artist, I understand how vulnerable it can feel to put your work out into the world, to let others interpret and dissect it. That vulnerability is what makes art powerful. This exhibition wasn’t just a display of talent; it was a glimpse into the minds of those willing to express themselves in ways that words often fail to capture. Walking out of the Stamelos Gallery, I wasn’t just inspired—I was reminded why we create in the first place.

REVIEW: Threads of Justice and Legacy: Lester Johnson Art at the Stamelos Gallery

Visiting the Stamelos Gallery at the Mardigian Library on Monday was a powerful experience that gave me a deeper appreciation for Lester Johnson’s work. Stepping into the space filled with his vibrant pieces, I felt the energy of his journey as an artist, a journey that is deeply rooted in the history and culture of Detroit and the broader African-American experience.

The exhibition, FOUR: Lester Johnson’s Selected Works, is a captivating reflection of his life and creative evolution. As I stood in front of his large-scale totem sculptures, I couldn’t help but think about how Johnson’s work is so deeply connected to his childhood in Detroit’s Westside, a historically rich Black community. Growing up just blocks from the iconic Blue Bird Inn, a hub for jazz legends like John Coltrane and Miles Davis, it’s clear how the rhythms and melodies of Detroit’s jazz scene shaped his creative vision. Johnson’s art is infused with the spirit of this music, often created with it playing in the background, as he seeks to channel its energy and emotion into his sculptures and paintings.

Courtesy of Lester Johnson
26 Wood, Fiber, and Fabric Totems. Courtesy of Lester Johnson

One piece that particularly struck me was the 26 Wood, Fiber, and Fabric Totems, which are a tribute to Rosa Parks and Judge Damon J. Keith. These works, rich in color and texture, tell a story of resilience and community. The fabric, woven with African-inspired patterns, speaks to the ways in which culture can bind people together, even in the face of adversity.

For Johnson, fabric is more than just material—it’s a symbol of the strength and unity that communities, particularly Black communities, have built over time despite systemic challenges. The totems were a poignant reminder of the importance of honoring the past while continuing to fight for justice.

As I walked through the gallery, I was also reminded of how much Johnson’s personal experiences shaped his artistic direction. His move into papermaking in the 1980s, influenced by Al Loving and Lynn Forgach, marked a turning point in his work.

I could sense the new textures and depth in pieces like Lynn’s Song and Nerfetiti, where paper became a medium for exploring his longstanding fascination with primal cultures and natural materials. The three-dimensionality of the work felt so immersive, like I could reach out and touch the cultural stories embedded in the fibers of the paper itself.

Courtesy Of Lester Johnson
Lynn’s Song and Nerfetiti. Courtesy of Lester Johnson

 

The most moving aspect of Johnson’s work is its ability to connect deeply with the viewer. Each piece tells a story—not just of the artist’s journey, but of the shared human experience. Whether it’s the universal struggle for justice or the celebration of the cultural legacies that shape our lives, Johnson’s art invites us to reflect on what unites us as individuals and as communities. My visit to the Stamelos Gallery was a reminder that art isn’t just about what we see on the surface; it’s about the stories, struggles, and triumphs that are woven into every brushstroke, every piece of fabric, and every sheet of paper. Johnson’s work is a testament to the power of creativity to honor the past and inspire the future.

 

REVIEW: A Little Night Music

A Little Night Music, based off of the movie Smiles of a Summer Night, was an exciting and jaw-dropping musical full of plot twists and shocking revelations that uses humor, song, and dance to portray infidelity as a romantic comedy. Set in 1900 Sweden, the story revolves around a messy love web between a lawyer, Fredrik Egerman; Fredrik’s wife, Anne; a famous traveling actress, Desirée Armfeldt; Desirée’s lover, Count Carl-Magnus Malcom; and the Count’s wife, Charlotte.

The drama between the characters shows the darker side of romance in a sarcastically endearing way. The men are ungrateful towards their partners but down bad for Desirée, which is what generates the jealousy that pushes the plot forward in unexpected ways. The entire time I was on the edge of my seat, uncertain where the story was taking me. The ending was bizarre yet satisfying: happy yet bittersweet. Afterwards, I had a lot of fun talking to my friend about all of the twists and turns in A Little Night Music, which for me is what set it apart from the other musicals I’ve watched. It was a story completely different from what I expected when reading the description of the plot online.

The students really brought this show to life; their voices perfectly replicated the classic European noble accent. The wardrobe was gorgeous, particularly Desirée’s deep red dress and Charlotte’s dark blue dress, a contrast that hints at their differences and heavy animosity. I was also very impressed by the live playing of the cello and piano on stage, as it was my first time seeing instruments played on stage by the actors and not by the musicians in the pit orchestra. Especially the student who portrayed Fredrik’s son, Henrik, who played the cello with a very good tone and vibrato. 

My favorite song would be “Send in the Clowns,” sung by Desirée as she discovers that love doesn’t always go as predicted. The lyrics were relatable and the emotion in her voice mirrors lots of the experiences people face in romance today. This is the last musical I’ll see this semester and was a fun one to review. If you’re looking for something to betray your expectations, then A Little Night Music is for you!

REVIEW: Alexandra Collins’s “Hyper Light”

Seeing Stars with Alexandra Collins’s Exuberant “Hyper Light”. 

On Friday February 16th, I had the pleasure of attending the opening reception of Stamps senior Alexandra Collins’s first solo exhibition “Hyper Light ”. The work is on display at The Common Cup, an Ann Arbor coffee shop on Washtenaw Avenue.  From still lifes of jello molds and glassware, to large zinging abstracts of flowers and shapes, the series is a colorful and bold exploration of the relationship between energy and tension.

“Red Jello on Purple Tablecloth”

Collins’s eye finds movement in stillness. Investigating the organic in the inorganic, she uses bold colors and streaky light to create energetic portraits of jello and glass. The tension between energy and stillness holds as a focal point in her still lifes like the horizon of a sea scape. The lively dynamic style contrasts and emphasizes the stillness of the subjects like a loud silence. Maybe you shouldn’t have ordered that second Mayan Mocha, or maybe you caught the jello jiggling from the corner of your eye.

 

“Superbloom”

Collins plays with the constraints of the canvas, in some works lining up several panels, in others tacking panels on in unexpected ways. The larger and more abstract pieces expand and challenge what can contain them. Pieces such as “Superbloom” are colorful menageries of plant life, bubbles and baubles, and streaks of light. Reminiscent of exploding stars and streaking galaxies, the arrangements represent a synthesis of color, shape, and form. The flowers are closed, and the paint around them vibrates and thrusts and sings like it just can’t be held anymore. Like the build up of a song with no release, we are held in those moments before explosion.

On a blustery February day, the basement location of the exhibition makes the colorful paintings feel like an underground secret, like spring charging beneath the earth. I felt a celebration and investigation of the feminine in the flower motifs and dining room still lifes. The celestial exuberance and energetic synthesis of shapes and color asking what feminine energy might look like, and where we could put it down. When I parked at a table for a few hours to sip coffee and send out piles of resumes and cover letters, I felt Hyper Lights hum resonating around me, not with the glory of the finish line, but with potential.

“Supernova”

“Hyper Light” will be on display at The Common Cup on Washtenaw Avenue for about two more weeks, until March 2nd. The paintings are an energetic and possibility expanding presence in the cafe, which is a great place to study or meet with friends. You can find more of Collins’s work on her website and instagram, or by attending Commence, a graduating senior exhibition held at the Stamps Gallery in April.

 

 

 

 

REVIEW: How to Build a Disaster Proof House

Tracey Snelling’s ‘How to Build a Disaster Proof House’ is on exhibition in Institute for the Humanities’ Gallery and Osterman Common Room. The exhibition itself is not huge – one can definitely squish it into their lunch or dinner time as an after-lunch/dinner art experience. I recommend doing so – this is an interesting exhibition where everyone will find different things to focus on and to muse that will definitely be worth your time.

The exhibition is mainly comprised of different styles of rooms, some small and some real-life sizes. There is no common theme shared in their aesthetics, and each and every one of them is decorated with vibrantly colored objects and cut-outs from prints. They seem to represent different lifestyles, or even, different scenes from life. However, they have kitsch, even a bit eerie, or extraordinary atmosphere. They do not fall into what we would mentally categorize as ‘normal life’. The feeling of wild, chaotic energy seems to derive firstly from the background, as the artist had placed huge posters or drapes of natural sceneries on the walls of the space, forming a background that adds energy to the exhibition. As can be seen from some pictures, these sceneries are not the ones that calm your mind. The colors in it are exaggerated and overly vibrant, adding to the active, uneasy vibe of the exhibition. Also, the use of diverse materials and colors for objects that demands attention all at once also adds to the vast input of information from the exhibition. Additionally, the placement of the artworks that place life-size rooms and miniature-size rooms together also creates unbalance in the scope of the attention: while the viewer is focusing on the smaller size works, their attention is overwhelmed by the relatively huge, life-size objects while the small ones nag and demands attention while they are taking in the life-size ones, creating the uneasy tension between the two sizes. Lastly, the artist had interestingly integrated video into her work-lots of videos are played simultaneously from the windows of small houses, adding chaotic audio on top of all the rich visual information that the viewer is already processing. All this adds up to create an audiovisual influx of information and this is where the exhibition consisted of static rooms filled with un-moving objects shifting into the concept of moving and alertness in disastrous situations. When in a situation of a disaster, people are more alert toward inputs from the world to detect danger and this overwhelms them. The exhibition creates a similar experience for us while reminding us that disaster is different from mundane life but perhaps not so far apart – this is expressed by how the artist chose the area that we are familiar with, personal rooms, but filled it with items and contexts that are not common.

There were also a few rooms where I could detect the trial to bring in social messages and status quo, like in the picture above. However, that was not emphasized much, and like it was addressed above, I think the author did a creative take on explaining disaster without using direct reference from society.