Although clay has been used throughout history as an embellishment of architectural structures, clay elements have usually remained subordinate to existing architectural forms. Three-dimensional ceramic modules which divided an existing space, altered or obscured architectural forms, and intersected with or penetrated established planes provided a greater interaction between clay and architecture. I explored the use of clay as an integral three-dimensional element which interacted with an architectural space, rather than merely surfacing it. Because the installation of these works was temporary, methods of connecting the clay elements to the architecture were also investigated.

The act of putting anything on a base isolates it and makes it seem more precious. The base separates the viewer from the sculpture and affects the relationship between the sculpture and viewer. The problem for me was to remove the base and experiment with the possibilities now opened to my work. The purpose of this study was to explore the presentation potentials of sculpture freed from the constraints of the plinth.

The purpose of this study was to examine the difference between language and the use of visual imagery to represent experiences and ideas. It focused on the following questions: 1. Can the meaning of a painting be ascertained by analyzing the referents of the images and their relationships to one another? 2. How does the purely formal part of the painting function in the creation of meaning? 3. What is the difference in the meaning created by language and visual imagery when they were used to represent the same idea or experience? 4. Where do my ideas come from?

a. How does the use of different materials such as string, screen, fabric or wire personalize the work? b. How does the addition of subtly recognizable imagery change the reductive field? c. How do processes such as wrapping, printing, dripping, and other techniques infer meaning? d. How does the choice of color and scale affect the work?

In the fall of 1972 I was required to read Dee Brown's "Bury My Heart At Wounded Knee" as an "atmosphere setter" for a seminar on artists of the westward expansion in the United States. When I first started making drawings of some of the Indian leaders, I had no idea of doing a series. I also had no idea that Indians and more especially those of the West, would be consuming so much of my time and thoughts for such a long period. In the beginning the drawings were prompted by a fascination with the bone structure of the Indian faces. The high cheekbones, the prominent noses and unusual eyes caused marvelous patterns of light and dark, making the faces very conducive to caricature. As I began to know these faces as individuals and personalities, however, I knew that caricature was not the direction which i wanted to pursue.

My problem was to combine warp ikat woven in crowfoot satin weave with supplementary weft techniques, in order to increase visual depth and maintain visual unity.

The purpose of this problem was to investigate the advantages and limitations in the use of blacksmithing techniques combined with the construction techniques of arc welding and the use of power tools to construct large outdoor sculpture. Specific questions will be asked to determine the suitability of this method of working. The questions are: 1. Can blacksmithing techniques be used in the construction of large outdoor sculpture? a. what specific techniques are appropriate? b. Will some techniques be used more than others? 2. Will these techniques be used more than others? 2. Will these techniques take an inordinate amount of time and make them impractical for the artist to use?

I resolved to consciously examine the role of precise and spontaneous aspects of my drawings as my creative project. I felt that an investigation into the use of precise and spontaneous elements and their relationship to each other would strengthen my understanding of my own work.

The purpose of this research was to develop a body of work which exhibited unity between form and surface, but which relied upon a combination of deliberate intent (specific form, glaze, firing temperature, etc.) and the occurrence of random accident to achieve this unity. The project dealt with the integration of altered wheel-thrown and hand-built organic clay forms with a variety of surface treatments. The firing/glazing techniques chosen (which included cone 9 reduction firing, raku firing, and saggar firing) could be controlled to some degree. However, even minor differences in glaze and/or firing treatments evolved through a variety of chance incidents into marked differences in the finished piece.

My interest in pictorial representationalism began when I started painting and drawing as a child, and my concern for working realistically continued and developed through my undergraduate years in college. In this investigation i explored the working processes used in a representational approach to contemporary woven tapestries. A brief discussion of the origins of representational woven tapestries with concentration upon Twentieth Century textiles was followed by an analysis of the influences upon my work by artists and stylistic trends.

Our problem was to produce art in a collaborative manner. Due to the nature of our problem, we proposed to explore specific aspects of collaborative art and answer these questions: 1. in what ways is the co-artist's input beneficial? 2. How are the artist's skills broadened by working with a fellow artist? 3. What is involved in developing a professional working relationship between male and female artist? 4. What understanding of differences in working styles is acquired? 5. What are the differences reflected in each artist's earlier works as compared to the collaborative pieces?

I believe the frame or housing of a printed image plays an integral role in the context of the work. It functions as a vehicle for possible interpretation. It should respond to and complement the concept of the central image. The image presented in a vessel or reliquary format should instill a meditative or religious response.

The abstract expressionist movement aided in the development of this new personality for the clay world. An entire new dimension was added with extreme manipulation of ceramic pieces. My work reflects feelings and ideas concerning today's society and the status-quo. Common, everyday images recur in my art objects, with a major interest in cars, food, slogans, and puns. These are all a part of the hysteria of the American scene today.

The investigation concerned itself with the following questions: 1. What was the relationship of the structural grid system to the layered materials? 2. How much of the final results of the works were dependent on the process of constructing the pieces? 3. What processes were used to change surface quality? 4. What were the various methods of installation in a gallery?

This descriptive report is designed to document the development of this conceptual structure. The purpose is to clarify each aspect of the metaphor and its relationship to the conceptual structure thereby providing more organized , as well as new material to strengthen future work. This metaphor serves as a triggering mechanism for visual imagery.

The intent of this problem was twofold: (1) to demonstrate the adaptability of woven tubular forms in an exhibition space and (2) to demonstrate how support structures could be successfully combined with woven fabric forms as part of the overall design. The problem was executed to alleviate some of the limitations imposed by exhibition spaces. Specifically, the more versatile the piece, the greater the potential for aesthetic and structural effect.

The focus of the problem was to challenge the more traditional. Western approaches to jewelry as adornment in respect to areas such as placement and scale. Approaching adornment as sculptural forms interacting with the human body could possibly challenge the individual's awareness of jewelry as wearable art. This approach brought up the issue of using the human body as a pedestal for adornment.

My interest in the patterns of nature and culture has led me on a long journey through studies of math, sciences, and religions culminating in my current studies in art. Continuing my inquiry into processes of human perception and conception of time. My intention was to incorporate the "process" aspect of the printmaking medium into the final work by creating hybrid works that would take the "print" out of its traditional two-dimensional form. Finally, I planned to utilize the "multiple" aspect of printmaking to address ideas of patterns and evolution.

The problem was to combine yarns and fabrics, through various textile processes, (off-loom and on-loom techniques may be incorporated), that involve a personal dimension and an aesthetic value. The specific questions to be examined were the following: 1. How are successful textural surfaces achieved? 2. What kinds of interdependence among color, surface texture, and imagery exist? 3. How foes scale affect the works? 4. In what ways are autobiographical images compatible with the processes?

During the last several years, my art work has evolved around a developing concept nurtured by a fascination with timeworn relics of the past centered itself around an emotional sensibility toward deteriorating fragmentary remnants of archaeological finds and relics of ancient art, predominately pottery shards and old textiles. I was intrigued and stimulated by the feeling of age and by the beauty of these worn and irregular shapes.

In the visual arts, I was interested in creating patterns with clay, glass, and metal, utilizing the visual elements (line, color, shape and texture). I arranged, rearranged, and distorted the elements until I obtained a fragmented, yet, unified pattern. My visual ideas were rhythmical (gestural) in nature with or without the direct stimulus of music. Concepts originated in my mind with symbols and sounds simultaneously.

I wanted to produce a body of work related to the problem of decontextualizing objects. By challenging the object's habitual associations, I hoped to provoke a new set of relationships for the viewer. I kept a journal of personal information, dreams and events, that might later provide imagery for and insights into the work. My goal in the endeavor was to acquire concision and complexity in imagistic language, a language in which the definite and the indeterminate would coincide very simply to provoke a variety of unexpected associations.

It was those problems and possibilities I wished to explore in my problem in lieu of thesis. While the simple, geometric images were very satisfying to that part of myself that craves order and rationality, it was all too easy to make work that was dull and uninteresting. I wanted to find a way to produce rich, sensuous, engaging work using only simple geometric forms.

My work attempted to examine the emotional and psychological relationships between humans and the relationship of a human being with their inner self. I adopted the human figure as a potentially successful means of expressing these relationships. The language or symbolism I used in my work was derived directly from body language. This universal language is direct and immediate. Body language, posture, attitude, and tension of the figure are primary perceptions observed by the viewer. The immediacy of communication and directness of emotions through the use of body language were my main concerns. The major issue I dealt with was trying to invest those same emotions into my sculpture. My intention was to endow the sculpture, which consisted of a static unchanging pose and was created from an inert material, with a recognizable emotion and expressiveness that the human figure inherently carries.