My work already shared some of the characteristics of the gravesites that I proposed to study. They were similar in that they both attempted to integrate sacred and profane imagery. Both called attention to personal events and related these events to a larger scheme. Finally, both were involved with the creation of objects of veneration according to personal edicts, but in relation to already established mythologies. I proposed to create a body of work based on the information gathered from the investigation of three predominantly Mexican graveyards-- one in Nuevo Laredo, Mexico, and two outside of Laredo, Texas.

My objective was to create a body of work using various printing processes. I wanted to communicate my emotional responses to the fertility and childbearing of older women. I wanted to address the realities that become problems for women who wait to have children at an older age and related feelings. Some of these problems were infertility, early menopause, "sticky eggs," and birth defects. There are current medical practices that help these problems such as the freezing of eggs, artificial insemination, and multiple births. I wanted to incorporate ideas about the panic I began to feel about having a child at an older age and my frustration over the lack of open discussion about such feelings. I have combined the use of realism and abstraction in my work. I included dyed and torn paper to lend organic and tactile qualities to the humanistic subject matter. The end result has consisted of various forms of collage and an assembly of the dyed, torn and printed paper.

The focus of my study is the utilization of fiber to create interpretations of animal skins that reflect the cycle of nature through varying degrees of multiplication and repetition of the fibers. In exploring this problem, I have addressed the following questions: 1. Which fibers work best for achieving these interpretations? 2. What problems were encountered in creating structural supports? 3. What are the effects of repeating fiber elements?

The emotional and psychological reaction to a chalice is determined in part by the visual impact of the vessel. The goal of this problem has been to explore the visual impact of contemporary techniques and traditional materials, combined with multi-cultural imagery on the perception of the vessel as a chalice.

The purpose of this study was to analyze the physical issues of verticality and architectural reference in the presentation of my figurative sculpture and to determine how these issues affect me as viewer. In this analysis, the term architectural reference refers to the fundamental structural elements historically associated with architecture, such as column, pylon, pilaster, pyramid, elevated platform, and bilateral symmetry. The term does not address broader architectural concepts such as spatial organization, circulation, or shelter.

In this body of work I have attempted to unify those aspects of utilitarian pottery and sculptural ceramics which I value most. I intended to join the inherent interactive nature of pottery with the capacity of sculptural ceramics to convey content through a personal aesthetic. Through this exploration I have developed a stronger personal expression in clay.

There are three recurrent themes in my work: 1) environmental installations utilizing ecologically unsound materials 2) incorporating air space with plastics 3) conceptual inspiration derived from dreams. I proposed to address these three themes by employing materials traditionally used for industrial applications (as in plumbing supplies and dry-cleaning bags) as fine arts media using fiber related techniques in environmental sculptural pieces.

The purpose for this study was to investigate the effect of painting and drawing when used as an integral part of sculptural form. The following questions are addressed in this study: 1. Does color increase or decrease the three-dimensionality of a form? 2. When used, is color an integral part of the sculptural form or a superficial decoration? 3. Can drawn line (on the sculpture's surface) be used to flatten or deny the sculptural form? 4. Can drawn line be useful in describing or enhancing sculptural forms?

I have suggested that the ornamental element employed in my painting functions as historical, cultural and social text, and also as a carrier of ideas and ideals about beauty and art which have been invalidated by the Modernist view. I will explore how the elements of painting: material, paint application, palette, figure/ground relationship, scale and other formal and technical factors, combine and interact to transform, contradict, subvert or negate the ornamental element in the painting; and how in turn these combinations effect the way the paintings function both formally and in terms of content.

My problem was to develop a personal symbolism within my paintings that expresses my identity. Who am I? Who have I been? Who will I be? Since these paintings are a way of telling my story. One aspect of the problem was communicating my ideas, making the paintings readable. Representational and recognizable images are culturally traceable symbols. The intended reading of the symbols may be generally understood; however, some degree of ambiguity was anticipated since ambiguity is an inherent aspect of symbolism. IN so much as I value symbolism and communicating ideas I believe that ambiguity is equally important. I proposed to balance readability with mystique. Things of the inner self are not immediately evident but found through contemplation. They hold mystery.

It was my intent to find objects that were both historically symbolic and symbolic of the times we live in, and that could be melded into a nineteenth century interior where their presence would be secondary to the overall atmosphere. I wanted to incorporate objects that would function as metaphors or personal symbols as well as historical icons.

This paper discusses the author's art works, which involved the integration of clay and steal to create sculptures of pipe forms similar to the machined forms they worked with in the agriculture and oil industries. Vicente García discusses the methodology of creation and analyzes the works.

This paper discusses the author's selected works, four sculptural pieces cast in bronze and painted with oil paint washes. Cari D. Ashworth explains how the works illustrate challenges faced by the modern woman in today's society, and how the dramatic flair of the pieces produces imagery.

This paper discusses the concept of figurative formalism and its application in six paintings on canvas by the author. Linda Leonhart McCall explores the work of Johannes Vermeer, Edward Hopper, and Richard Diebenkorn in discussing abstraction and representation.

This paper describes the artist's conception of their scientific knowledge and spiritual beliefs, and the juxtaposition of the two in a single awareness. Michael Muller discusses the use of printmaking, drawing, and photo mechanical processes to represent this awareness through visual imagery, and includes photographs of the works.

This study related length of residency, motivational style, and the resident's role in deciding to move to a nursing facility to adjustment, represented by a number of variables (e.g., desired control, expected control, life satisfaction, and affect). Fifty-five residents of nursing facilities and assisted-living apartments were given an interview, compiled of a number of brief measures relating to aspects of adjustment. While results from multivariate analyses of variance failed to support any of the hypotheses, post-hoc univariate analyses of variance and regression analyses revealed important relationships between motivational style and voluntariness regarding the move and factors of adjustment. Overall, post-hoc findings indicated that, in the relatively constrictive environment of the nursing home, persons with a non-self-determined motivational style and persons who decided themselves to come to the nursing home had higher scores on various factors related to adjustment.

This problem in lieu of thesis project looked at the style of a place setting as an exciting part of the meal. The study concluded that funware is achieved through a combination of color choice and a harmonious relationship of the dinnerware and the surface decorations.

The interaction of the construction and the images was the focus of my proposed exploration. Previously, I viewed the images as the vehicle for content with little thought to the construction. I thought of the construction as a painter might think of his or her canvas, a place for the images to reside. The relationship between constructions as part of my content is essential. Exploration of form and image will push the limits of how the images and constructions may interact. Now that I was conscious of the construction being included in the content, I wanted to discover how the ideation process would change. I was also hoping to determine how the imagery would be affected by the redirection of my decision making process concerning the construction as part of the content.

The goal of this work (entitled: Toward a More Personally Expressive Method of Working in Clay) was to create a body of work that was more personal, expressive, and less restrained that incorporate objects and non- clay elements.

The purpose of this study was to assess the outcome of a therapeutic horseback riding program on physically disabled.

This paper discusses the integration of imagery and form in the author's works, wheel thrown pottery intended to make an individualized statement. Steven L. Phillips discusses the process of making these forms and the imagery they contain, drawing connections to philosophical concepts.