As my creative project, I decided to explore the possibilities for expression of rhythmic life-growth patterns in a variety of abstracted multiple forms. The work was planned to investigate the following questions: 1. What forms can be used to communicate the idea of repetitive, rhythmic or seasonal life or growth patterns? 2. What size/scale is effective in communicating the universal, infinite character of these patterns? 3. What formats or types of presentation are the most effective? 4. How is the overall impact of the work affected by changes in size and form? 5. How do changes in the work affect my responses to it, and what subsequent directions result in the work?

My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

The problem being dealt with concerns the investigation of the conceptual and expressive potential of mold-formed units in combination with other media and processes. The questions under consideration are as follows: 1. Do the concepts of pieces vary with the materials and process being used? How? 2. What alterations occur in the visual image as a result of the change in media and processes? 3. What mechanical and technical problems are involved in the mold-formed process?

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.

The objective of my problem in lieu of thesis was to produce twenty hand-built porcelain objects which reflected this conception of beauty. To review the success of my project, I asked three questions to evaluate my work. 1. Was there significant structure to my works? 2. Was there significant discord within these structures? 3. Did the tension created through the interaction of these two elements of my work create beauty?

The primary purpose of this investigation was to acquire information about the fundamentals of participating in group and one-person shows. The assumption was made that upon acquiring this basic information an understanding of the intricacies of the larger exhibition procedure could be attained. I proposed to investigate aspects important to the production, selection, and installation of my work in a formal gallery setting.

The goal of this problem was to incorporate clear nylon monofilamnet in a series of weaves traditionally chosen for their absorbent virtues that in these cases would achieve interesting textural effects and light-reflective qualities in addition to varying degrees of transparency.

Two ways of apprehending reality were intimated; reality as a function of purely visual stimuli and reality as a substantial object. The problem was, therefore, an exploration of reality as a purely visual sense and reality as concrete form. In pursuing the project, I explored how each reality distinguished itself by separating each in the prior conception of the work and in the subsequent discussion.

As a painter, I have been working the past few years to develop a mature pictoral image and the concepts of space that were flexible enough for me to produce what I believed was a valid art statement. I have investigated several avenues for improving my work, i.e., acquiring certain technical painting skills, reading more to broaden my concepts and imagination, and visiting various art galleries and museums. During an earlier critique it was realized that the majority of my paintings were all very similar in scale. I decided to approach my work on a much larger scale than previously attempted in the hopes of discovering a better, or at least different painting concept.

In the history of ceramics my interest centers around times in particular cultures when ceramic containers were an essential part of life. I am most interested in functional pottery produced in nineteenth century North America between the years 1800-1870. This was a period in which some of the finest pots used for containing things were produced.

The problem of this investigation was to determine if there was a relationship between scale, forma and technique in the making of welded steel sculpture, and to determine the best method(s) of working on three size categories and in two basic categories of form. The size categories were two to four feet, four to eight feet and over eight feet in any dimension with the other dimensions such that the sculpture enclosed a volume of space. The two categories of form were geometric or inorganic (forms based on geometry or mathematics) and organic (forms found in, or resembling those in nature). The effects of scale, form, and technique(s) in the production of these sculptures were observed and a determination was made concerning which technique presented the most advantageous approach to the creation of welded steel sculpture in each category.

I wished to explore ways to introduce my futuristic symbols in my work that have a relevant universality, support a primordial mysticism, and maintain a personal spirituality. This would be achieved by utilizing imagery with both contemporary and futuristic connotations. This type of imagery would require specific sculptural techniques more refined than was previously present in my work. The sculpture would consist of solitary, tensely postured, monumental figures composed according to a classically proportioned totemic model.

I believe that an artist needs a mechanism(s) built into his or her working method out of which the greatest number of options may arise. I suggested that, for me, painting on paper could be one such mechanism. I wanted to pursue paper as a viable surface on which to paint and discover to what extent it would influence my choices in the working process.

The unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

My proposed objective was to create eight illustrations using Fusion as a tool to communicate concepts. I posed the following questions for evaluation. 1. Can I create two-dimensional illustrations effectively when applying the knowledge and techniques I have studied? 2. In what way will the use of multiple techniques affect the concept?

For my project, I chose to construct ten containers in which clay and non-traditional drawings were combined. The various materials used were ceramics, drawings on Plexiglas, wood, and other found materials. The questions to be answered by the completion of the ten pieces were the following: 1. What types of containers are most complimentary in combining ceramics and drawings? 2. What types of drawing media are most successful for combining drawings with ceramics? 3. What types of presentation are most successful? 4. What three-dimensional materials other than ceramics are visually important in the combined pieces?

Just as packaging in its most mundane, pragmatic sense refers to the commercial and traditional aspects of jewelry, so also does display. In addition to being a mere vehicle for presentation, the idea of display creates an intriguing set of design and conceptual problems which seem to be a natural extension of my current and ongoing concerns.

Interspersed color blend lithography is a technique that facilitates simultaneous multi-colored printing. The problem of color blending was to gain control over the process and explore a variety of uses. The research was entirely experimental. Interspersed color blend lithography is a unique process that allows for the application of any number of colors at one time, and complete freedom in their placement. The results of the investigation produced a process that is at once predictable, simple and immediate.

Up until this time I have made little effort to investigate the mental processes that I use in the development of these metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I therefore decided on a creative project that would investigate the use of the metaphor in my art work. In order to discover something about the development of my metaphors, I asked myself questions during a period of artistic work.

I have designed and built a brickless ceramic studio kiln which is modular in design and consists of ceramic fiber insulation and a protective aluminum exterior skin. I wanted a kiln that employed current technology and would be suited to my needs as a ceramic artist. It is my hope that this research will encourage people to consider the possibilities available when constructing new kilns and to be willing to experiment in order to find new solutions to the problems that continually confront us.

I constructed ceramic/mixed media instruments, recorded rhythmic music composed for and played on my instruments, and prepared a slide presentation portraying my daily rituals a studio artist. I describe in this paper the process involved in creating this environment and give an interpretation of the work by answering the following questions. 1. What were the rituals that were essential to the creation of my work? 2. In what ways did the use of the different visual and audio media work together to create a unified environment? 3. In what ways was the total experience of the different media a more direct and fulfilling expression of my goals as an artist, or are these goals better fulfilled when working in one media?

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

The problem I have addressed this year revolves around my search for a means to visually challenge mankind's present concepts and ideology concerning the wolf and the cheetah. At the same time, it was essential that I find a way to visually challenge previous artistic interpretations of these animals. This involved the discovery of a new form of animal representation relevant to modern societies' problems concerning the future of wildlife and the significance of the predator.