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.

The impetus for this project emerged in an effort to move beyond small scaled weavings executed in neutral hues to larger pieces with more color. All of my previous work had been technically oriented, lacking in direction, and limited to neutral hues which blended well together and were readily available. I determined that the project would involve answering two basic questions: (1) could i successfully push these panels to large scale, and (2) could several of these large panels be manipulated to create an interchangeable piece that would work visually in more than one arrangements.

To clarify this investigation, certain questions were formulated to guide the research. These were: 1. is the working procedure markedly different when using a photograph as a source for a work than the procedure used when working from direct observation? 2. If different, does this working procedure affect the final outcome or product? and 3. Whether the working procedure is similar or dissimilar, is the end result, i.e., the work of art, affected by the method used? That is, will the style of the works done from photographs be different from the style of those done from direct observation?

This paper analyzes Ralph Vaughan Williams' Songs of Travel and asserts that the songs are a song cycle rather than just a collection of songs set to to the poetry of Robert Louis Stevenson. Richard Porter Cole performs a musical and poetic analysis of the songs and makes suggestions to aid performers of the piece.

The problem was to investigate illusionary space as affected by dark surfaces using the elliptical and spherical shapes from previous work. I explored the potential of visual tension, movement, pattern, and various degrees of space on surfaces of opposite tonalities from those previously used. An investigation of space on dark surfaces was undertaken and ten works completed.