In this project, I further examined my work as a fictional layering of vernacular culture within the discourse of historical art. This investigation addressed the sources of my art, both in the outside world and in the context of an inherited art tradition. I focused on the issues of the formation and function of my work as an estheticized representation of this culture.

The object of this problem in lieu of thesis has been the exploration and identification of the retained two dimensional design idiom in the sculptural format of my work. (By this, I am referring to the lateral, planar quality which often continues as part of my designs.)

For the purpose of this study I intended to use Majolica to allow me both more flexibility in the physical act of decorating my ceramic work, as well as the opportunity for the expansion of my selection of symbols. During this investigation the following questions were addressed: 1. Was the color range attainable with Majolica relevant to my work? 2. Was my chosen imagery complemented by the special properties of Majolica. 3. Did the textural possibilities of Majolica benefit my work?

This report documents the changes in my work as a ceramic artist over a two-year period, imposed upon, and inspired by, the use of a propane torch on the surface of the clay vessel. The purpose of this study is two-fold: (1) to provide information about this particular tool for methods of survace decoration; (2) to provide information about a subjective thought process directed by properties in this particular tool.

My research explored the possibilities of achieving the raku halo through variations of the standard engobe (pronounced on-gobe) and oxide formulas, using ceramic vessels as media. This included alterations of the ingredients, consistencies, and methods of application. Throughout the research, a journal was kept including individual information about research pieces, a statement of results, and my reaction to those effects. From this information, an analysis of the completed vessels was compiled.

My work contains physical and illusionary layers of images which reflect or relate cultural and personal experiences. These experiences address collective cultural patterns or personal and collective experience simultaneously. Visual metaphorical and literal patterns represent behavior and experiences. Inherent in the presentation of these types of patterns and experiences is the implication of time and the relationships between old, new, and changed experience. One vehicle for effectively portraying these linear layers of literal/metaphorical images in fibers could be visual images representing a metaphorical pattern combined with literal patterns. The literal pattern would either reflect or have a relationship with the metaphorical pattern. Another vehicle for expressing the linear layers of images could be varying representations of depth of field exist.

I was curious as to what my work was about and what images were important to me. There had to be a reason why I was driven to do what I did, whether it was a conscious, conceptual purpose or a subconscious, intuitive reason. The problem of this investigation was to discover which of these I used in the creation of my images or whether I used both.

The purpose of this study was to give information on watercolor painting in combination with printmaking and secondary media. The objectives of the creative problem were stated in two parts. The first dealt with the exploration into kinds of secondary media which affect the printed surfaces and the watercolors, and the second dealt with the investigation into the kinds of secondary media that can be effectively integrated with the collograph and the monoprint.

The objectives of the creative problem may be stated in two parts. First, the utilization of the self-portrait theme in order to explore a variety of drawing techniques, media combinations, and surface manipulations; and second, the maintenance of a sketchbook-diary which accompanies the study as supportive data. The sketchbook entries include not only pertinent visual material but also verbal commentary. The sketchbook-diary is sequential and denotes the various stages of development as well as the progression of the study.

The purpose of this project was to investigate the use of non-traditional painting techniques on the images of my work. The following questions were specifically considered. 1. When and why in the process do decisions occur concerning the following: A. Subject or idea or motivation? B. Materials? C. Shaping? D. Color? E. Texture or embellishment? 2. Does the motivation change at any point in the process? 3. With the emergence of the final form is there an awareness of content (or intrinsic meaning) which was absent or completely nebulous at the inception?

I endeavored to investigate how temporal forms could be used as an avenue for addressing my sculptural concerns. These concerns included the relationship of form to material, the temporary manifestation of enduring principles, and responsibility to materials and their meanings. My pursuit of this investigation arose from both a search for alternatives in a field with a tradition of permanent object orientation and an effort to expand my own perceptions of what constitutes sculpture and the activity of sculpting.

The purpose of this project is to provide a record, much like the ones left to us by Michelangelo and Leonardo da Vinci, of the personal influences which motivated the present artist to function productively as a sculptor for a period of one semester: from September 1, 1975 through December 12, 1975. The methods involved in charting such artistic transpirations consisted of two types: a written diary, daily recorded, which indicated the progress, regression, frustration, inspiration, and perceptions which were experienced by the artist during the three-month period; and a series of personal, emotional self-enquiries.

The purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.

In order to arrive at a more consistent and clear personal understanding of the nature of art, I examined the ideas about art and aesthetics which were reflected in my works of the past several months. Some of the specific questions i asked in my investigation of the works were: 1. What are my thoughts on the role of content and form in my visual art? 2. What are my thoughts on the role of the viewer in visual art? 3. What are my thoughts on the role of permanence in visual art? 4. What are my thoughts on the role of appropriated imagery in visual art? 5. What are my thoughts on the role of expression in visual art?

In this proposed study, I hoped to discover compositional elements that once added to the work would convey my conceptual ideas. I was interested in exploring the addition of deep pictorial space and increasing the size disparity between the figures as possible solutions for injecting a level of irony and/or eluding to the subverted agenda of the content. I wanted to see if these two secondary compositional adjustments subtly conveyed not only a strategic contradiction of the art historical concept of expressionism but the numerous accepted truths in society.

The purpose of this project was to manipulate imagery present within the Tarot in a symbolic and visual space working through my own process of preconception. Each of the finished pieces was to be derived through an initial traditional process and then altered by use of monoprint methods and the incorporation of found object directly upon the print surface to give the illusion of a three-dimensional character, or actually contain the print in a three-dimensional format.

The purpose of this project was to create and present groups of stelae which contain personal imagery derived from archetypal feminine symbols used as hieroglyphs. The groupings of the stelae, by nature of the problem, took on a ritual appearance. Two groups of twelve stelae each were constructed with materials and techniques used in a fiber tradition. Each individual stele was designed to function alone as well as in a group.

The project involved producing a group (16) of audio-visual installations that successfully displayed and exposed various Muzak situations. The following questions, relating to individual pieces, were of concern: 1. What is the basic intent of each installation or piece? 2. Does the piece communicate the intent of the artist? 3. Which installations or pieces will adapt to any space? 4. What visual documentation is necessary to preserve the idea?

In this creative project, I investigated the problems of producing, selecting, presenting, and installing a one-person exhibition. I executed a series of 31 drawings, paintings and prints from which 21 pieces for the exhibit were selected. From the body of work executed prior to and during my graduate study, 21 pieces were included based upon the relative quality of the imagery. There were no restrictions with regard to media or size. My goal in this project was to assemble and present a coherent and harmonious exhibit in the North Texas State University art gallery.

The purpose of this study was to examine the standard line of functional pottery produced in my studio. It involved two areas, and the questions I presented to myself were the following: 1. How is each form developed? 2. What consideration is given to the specific function of that form? 3. How can the development of a standard line of production strengthen the personal style of my pots?

The purpose of this problem-in-lieu of thesis is to explore the effect of scale in my sculpture, on me as an artist as well as the viewer. My work addressed the following questions: 1. Can smaller-than-life-size sculpture communicate with the same intensity as my previous life-size work? 2. How does scale affect the ability of the work to communicate ideas and feelings? 3. Can the sculpture be as confrontational without occupying space as we do? 4. Does a larger-than-life-size piece gain intensity in any of these questions due to its scale? 5. How does scale affect my feelings toward the work and my method of working?

Dreams can be defined as a series of thoughts, images, or emotions that occur during sleep. The impression of strangeness, which is certainly a characteristic of dreaming, comes from three primary performances: (1) a loosened temporal and spacial world, (2) short attentional controls and (3) fewer critical evaluations. In dreams, time and matter are not bound by physical properties, and scenes may change with remarkable rapidity or awesome slowness. One out of three people can recall dreams upon awakening. During a night's sleep there are usually three separate dream periods per night, which contain at least two dream stories within each period.

The focal point of the study was the use of gestural and photographic imagery in printmaking, and how that imagery could be combined to form a personal aesthetic. The purpose of this project was twofold: to create, describe, and interpret works which called attention to the dichotomy and unification of gestural and photographic imagery; and, to allow for positive personal growth, which would be absorbed into future studio work.

The intent of this project was to utilize hakeme in a personal and cross-cultural manner. This was a reinterpretation of a traditional Oriental technique. Reflecting my own background and interest in earthenware pottery, hakeme was adapted for use on low fire red clay. This reorientation of the hakeme technique to low fire ceramics indicated the strong western influence that i wished to integrate into this body of work. Hakeme was utilized in a self-conscious manner and became a less restrained translation of the technique.