The focus of the problem was to challenge the more traditional. Western approaches to jewelry as adornment in respect to areas such as placement and scale. Approaching adornment as sculptural forms interacting with the human body could possibly challenge the individual's awareness of jewelry as wearable art. This approach brought up the issue of using the human body as a pedestal for adornment.

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?

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.

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?

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.

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.

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.

The problem for this creative research in lieu of thesis has been to investigate in depth the difficulties and possibilities encountered when combining the woodcut and intaglio media into one entirely editionable print. Arriving at this particular problem was natural-- I feel an innate affinity and facility for creating with the woodcut medium.

The gum bichromate print offers the potential of allowing me to combine different media in my work, while reducing the cumbersome scale and retaining the visual impact of larger scale pieces. However, there are numerous problems to be solved in executing gum bichromate prints in a scale large enough to have the powerful visual impact that I feel is essential for the content of my work. I propose to refine the gum bichromate process to accommodate the scale of my work and to combine a variety of media.

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.

My interest in the patterns of nature and culture has led me on a long journey through studies of math, sciences, and religions culminating in my current studies in art. Continuing my inquiry into processes of human perception and conception of time. My intention was to incorporate the "process" aspect of the printmaking medium into the final work by creating hybrid works that would take the "print" out of its traditional two-dimensional form. Finally, I planned to utilize the "multiple" aspect of printmaking to address ideas of patterns and evolution.

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 was to combine yarns and fabrics, through various textile processes, (off-loom and on-loom techniques may be incorporated), that involve a personal dimension and an aesthetic value. The specific questions to be examined were the following: 1. How are successful textural surfaces achieved? 2. What kinds of interdependence among color, surface texture, and imagery exist? 3. How foes scale affect the works? 4. In what ways are autobiographical images compatible with the processes?

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.

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 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.

For my Problem in-lieu-of-thesis, I proposed to execute a related body of work using "horse" as subject. It was my intent to investigate what effects the limits of "horse" instead of "figure" had on the content of my work.

In the visual arts, I was interested in creating patterns with clay, glass, and metal, utilizing the visual elements (line, color, shape and texture). I arranged, rearranged, and distorted the elements until I obtained a fragmented, yet, unified pattern. My visual ideas were rhythmical (gestural) in nature with or without the direct stimulus of music. Concepts originated in my mind with symbols and sounds simultaneously.

I wanted to produce a body of work related to the problem of decontextualizing objects. By challenging the object's habitual associations, I hoped to provoke a new set of relationships for the viewer. I kept a journal of personal information, dreams and events, that might later provide imagery for and insights into the work. My goal in the endeavor was to acquire concision and complexity in imagistic language, a language in which the definite and the indeterminate would coincide very simply to provoke a variety of unexpected associations.

It was those problems and possibilities I wished to explore in my problem in lieu of thesis. While the simple, geometric images were very satisfying to that part of myself that craves order and rationality, it was all too easy to make work that was dull and uninteresting. I wanted to find a way to produce rich, sensuous, engaging work using only simple geometric forms.

My work attempted to examine the emotional and psychological relationships between humans and the relationship of a human being with their inner self. I adopted the human figure as a potentially successful means of expressing these relationships. The language or symbolism I used in my work was derived directly from body language. This universal language is direct and immediate. Body language, posture, attitude, and tension of the figure are primary perceptions observed by the viewer. The immediacy of communication and directness of emotions through the use of body language were my main concerns. The major issue I dealt with was trying to invest those same emotions into my sculpture. My intention was to endow the sculpture, which consisted of a static unchanging pose and was created from an inert material, with a recognizable emotion and expressiveness that the human figure inherently carries.

This problem concerns the feasibility of combining the elements of light and clay in a sculptural concept of design. The study has determined various procedures of combining the sculptural ceramic forms for the internal inplant of light sources. Specific questions posed were 1. Can the surface decoration be enhanced by external and internal lighting? 2. How does each surface quality, raku, and low-fire salt glaze differ with the interplay of light? 3. In what way may two surface qualities be applied to the same sculptural ceramic forms? 4. How does scale effect each of the pieces?

Each of the pieces in this study was a single room structure which incorporated a window. The scale varied depending on whether the piece as a whole or in part was to be worn.