When I was first introduced to photography, I was mainly drawn to landscape imagery. I enjoyed being a solitary spectator. Over time, inclusions of figurative elements became more and more apparent in my work. I purposefully began to incorporate a figure into my landscapes, ascribing to it a certain nostalgia and a sense of isolation I was experiencing on many levels at that time. Before long, I felt disconnected from these images because of their ambiguity and generalization. I found myself craving more content and personal commitment in my photography. At the end 2003, I started experimenting with a 4" x 5" format camera, which forced me, to some extent, to change my way of photographing and seeing. That is how the beginning of this new body of work was born. I was accustomed to shooting with a 35 mm camera, which allowed me to be spontaneous, quick and immediate. I permanently switched to a large format. I could see myself benefiting from this change. I lost some of the spontaneity that a 35 mm format offers but I gained the beauty of working with larger negatives and the endless possibilities of view camera movements. Thanks to this technical transformation, …

The following paper reveals some aspects of my thoughts about art. The works discussed are featured in my M.F.A. exhibition. All works are mainly based on the ideas of absence, self-reference and utilization in art practice, even though each piece approaches the subject from differing angles. My dissatisfaction with preconceived notions in the contemporary art, rooted in art history, has shifted my focus from concerns of the direct, physical presence of artworks to the indirect or indecisive elements of their context. From this position I have felt free to explore the paradox of self-reference that is involved in performance. In addition, by transferring art works to functional objects, I have found a way to infuse everyday life with my art, and vice-versa. The ambiguity of interpreting artworks with language means that I present this paper with photographic documentation of my artwork. Combined, this will give a clear indication of the thrust of my graduate studies and the current theatrical direction of my art.

Movement, whether conveyed through an actual motion or a gestured implication, remains an underlying theme in my creative process that started with my earliest works. I explored different aspects of kinetic sculpture, because I am seeking new ways to create motion such as experimenting with circulating air, wind, and the use of water features. I created a series consisting of three to five kinetic sculptures which do not rely on sound or direct viewer manipulation.

The first segment introduces the background information on the use of paños as art by prisoners and how I appropriate the same materials to create and record my own cultural mythology. The Statement of Problem and Questions are about how and what cultural information is chosen in creating a visual mythology. The second segment explains the invention of the mythology by describing why certain experiences were chosen, specifically those of the graduate school experience. Also the development of self-representation through self-portraits is described. The third segment explains the symbolism used in the imagery, such as the cacti as cultural indicator and palimpsest. The fourth segment is a conclusion involving the realization that feeling caught within a hybrid culture is an important part of my identity.

I chose to exhibit sculpture and classical style vessels together to encourage discussion about whether ceramics should be considered a fine art medium. I was interested in experimenting with different forms and textures in order to see which combination would captivate the viewing audience the longest. I found that massive textural sculptural forms held the attention of the viewer more so than did the classical smooth surfaced vessels.

Chapter I describes how my works are grounded in a Chinese point of view, based on sociological and anthropological approaches as defined in my work. The questions in my Statement of Problem deal with how I use "imbalance" in my works, yet still find a way to make acceptable compositions to better tell my stories. I relate how my work constitutes a positive act or event in an evolving world culture. Chapter II discusses the work I focused around the questions posed in Chapter I. Chapter III expresses my conclusion about my work and my goals for the future.

Ever since I became interested in the world of ceramics, crystalline glazes have been the most fascinating and challenging to me. Even though crystalline glazes are the most difficult and elusive to potters, their spectacular results (when done right) keep me coming back. Over the last year I have developed a crystalline glaze that yields consistent and excellent results. During this period, I have worked with these glazes in the traditional manor, being that they are only applied to smooth porcelain vessels. My proposal will be to attempt crystalline glazes on different surface textures.

As China is opening its doors to the world and getting more involved in the global market, it is facing great challenges and competition with other countries and cultures. In order to make Chinese graphic design industry more competitive and help Chinese businesses and industries have better success in the global market, I believed Chinese college-level design educators and students should learn more from advanced American graphic design processes and marketing methods to achieve a better understanding of Western design culture and make communication more successful. At the same time, I believed American college-level graphic design educators and students should become aware of strengths and weaknesses that exist in their own design education and learn from Chinese formal tradition.

The problem involves developing a method that leaves conventional form and form making and moves toward a spontaneous and intuitive approach. The thesis is organized into 3 chapters. The first chapter includes an introduction, statement of the problem and methodology. The second chapter describes the work in eight movements. The third chapter answers questions posed by the problem and includes a summary and conclusion. The findings are that a spontaneous, impulsive, and intuitive approach to the medium, clay, is a productive and artistic method. The medium is responsive and telling of the method and art is produced.

The focus of my graduate work was to figure my way through a variety of challenges and transitions I was going through as a graduate student and simply as a person finding my way through my education to discover who I am and who I want to become. Perhaps my themes didn't focus primarily on these events in a literal sense, but I think the transitions in my artwork have become obvious through my time spent at UNT and the variations on a theme I have dealt with. All of my work deals with love, attraction, repulsion and the consequences we deal with as human beings when we make choices according to whom we choose to have relations with. It became very important for me to deal with these issues in an effort to discover what my expectations of myself as an artist and a person are.

My thesis, Question of Honor, addresses the premise of women's lack of choice in relation to men's honor, and vengeance; concepts that are closely connected to the oppressive world of women in Pakistan. These works deal with concepts of purity and minor transgressions that have an impact on the lives of women in relation to family names and the associative feelings of humiliation linked to men. The subtle nuances of women and their reactions to oppression give a strong emotive content to the work.

This autobiographical problem in lieu of thesis explores the subject matter of the sculpture, revolving around the issues of dyslexia and literacy, and builds upon the idea of metaphor and its function in relationship to the sculpture. The four visual and conceptual elements that are emphasized are: (a) the juxtaposition and arrangement of elements and materials; (b) inability to open the books; (c) alteration of the text to make the words illegible, by creating words that are fuzzy or transparent; and (d) repetition and scale. Also discussed are ideas of post modern criticism with an emphasis on semiotics and writing of Derada in relationship to his contemporary analysis of his sculpture.

The use of copper in my work has opened up an entirely new conceptual and esthetic world. I have expanded my vocabulary of visual imagery based on the nature of how copper reacts with fire. The organic beauty harmonizes so gracefully with the manufactured material. This new material has certainly opened up a refreshing platform on which to further develop my ideas.

Through this body of work and this paper the possibilities of using Fashion Design to express the concepts of the circle has been explored. This was done with three questions in mind: How can I use the shape of the circle as inspiration for fashion design? How can I express related words and phrases in my design? and How can I use the colors black and white to emphasize the concept of my design. To answer these questions I have created two groups of garments: one was inspired by circular objects, such as cherries and drops, and the other starting from words and phrases such as "study circle" and "circle the wagons." In the first group the emphasis was on the aesthetics of the garment while the second group was more focused on meaning. All garments are black and white.

Not many artists have made a successful connection between art and text. In this installation of four works of art, I have given a new perspective on commerce by combining my poetry with common products. The content of my work is based on experiences I have had throughout my life. I believe that I have successfully combined my poems and art into cohesive works that break through the conventional understanding of products and their packaging.

The focus of my work is the incorporation of three-dimensional sculptural forms into the design of my garments while still maintaining the functional purpose of the garment. Origami paper folding is the inspiration for the sculptural forms. The major endeavor was to explore and solve the relationship between the organic human forms and the geometric forms created by the origami paper folds. This presented a challenge of exact precision. During this process, I experimented with different fabrics, which can accommodate the sharp creases and retain the shape. A variety of folding patterns were also explored. Although the design should be innovative and creative, the final garment must be wearable and comfortable.

Chapter 1 discusses how the concept of the stitch as art object evolved. The question in the statement of problems concerned the use of design principles on the stitch and the perception of the stitch by the viewer. Chapter 2 discusses the various processes involved in creating the works to answer the proposed questions, and discusses the use of literalism in the concept of the works. Chapter 3 discusses what was learned from the experience.

I want to find a balance within the juxtaposition of representational imagery, patterned fabric, stain and found objects, which effectively communicates the ideas of my work, yet still provides a visually interesting object/painting. How do my materials relate to the content and/or meaning of the work? How will focusing on a single subject affect the development and visual content of my painting? How will I choose representational images to use in relation to the aims of my subject? I was struck by the connections between the baby doll and the real baby. The baby doll became a representation of an idealized body. My interest in baby doll source materials evolved through several different stages, beginning with drawings of baby dolls, then actual doll parts, and finally to imagery of babies with genetic defects. Formally, the work was able to progress as the idea or content progressed.

I have always believed the design of clothes should not try to conceal the naked body but should act as a catalyst that reveals the existence and strength of the individual. Spring Message includes three phases, Spring Message, Mystification, and My Paradise to reflect my three life experiences. Spring Message is an attempt to express my thoughts and ideas though designs in fashion, which were derived from the ancient beliefs, traditions, and western influence I have experienced. Through my individual pieces and creations I hope the viewer will be able to see who I am, where I came from, and understand the happiness and changes in my life.

This article discusses the way people experience the landscape. Tracing the progress of landscape photography from the late nineteenth century to the present, the author introduces the way concepts in landscape photography have changed. The author's photographs are discussed regarding how they build on the foundation of this historical precedent. Using photographs of individuals at places they think are special, the author examines their perception of landscape. The positions and actions of the subjects shape the way their attitudes are conveyed. The concept of beauty is discussed as it relates to the appreciation of landscape. By discussing with the subjects why these places are special and photographing with the intent to convey what those reasons are, the author's photographs examine the relationship of people to the landscape.

The focus of this project was on creating images of our industrial landscape and shows the coexistence of culture and nature. I confronted the landscape from a position that is accepting of our present landscape. While not idealizing the present industrial landscape I wanted to depict it in a way that is not devoid of beauty. I believe that no matter how the land is altered a certain grace still comes through in any landscape. In not idealizing or criticizing I wanted to show industrial areas in an accepting light and reveal the grace and beauty that is within every landscape. It is through my photographs and all the subjective decisions made when creating these images that make it possible for others to see the beauty in these industrial landscapes.

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.

Chapter 1 describes my previous jewelry work related to my interest in body parts and other materials as medium and lockets. The questions in the statement of problem deal with how the use of a specific body site, color and incorporation of body parts in my jewelry make my work more intimate to the wearer. Chapter 2 discusses the work I focused around the questions proposed in Chapter 1. Important points are: a more focused way of using specific body sites to support my ideas, the use of different skin colors in my work, and the physical effect of my jewelry to the wearer. Chapter 3 expresses my own criticism about the work and my future goals after this project.

My objective was to make a body of work that used baroque sensibilities with my own connections to popular culture. A series of mixed media works and one installation were created that infused baroque motifs with present popular design. My interpretation of the presence of the Baroque was expanded by using vivid colors, textures, patterns and designs collected from my environment during an investigation of the theatrical fantasies of popular culture. I expected to make work that could be approached conceptually from different angles, while being seductive on the surface.