My ceramic works utilize a heightened sensory perception to encourage a prolonged engagement with the handcrafted objects. With an emphasis on repetition, I create individual rings from clay coils and interlink them in complex, radial configurations to produce a malleable, geometric network designed to respond to the user's movements. The work revolves around dichotomies: hard/soft, delicate/strong, inspired by clay's chemical alterations in the firing. Each malleable pattern preserves the fluid movement the pliable clay begins with. Overall, the abundance of ornament elevates the object, transforming an everyday object into something intended for special occasions or moments for the self.

My work as an American artist (Korean diaspora) reflects the interplay of diverse cultures and locations that have shaped my experiences. Through the exploration of photo and video archives from my travels, I uncover patterns and images that symbolize both place and transition. Utilizing digital technology, I fragment and reconstruct visual elements, evoking a sense of longing and disconnection. I also investigate the relationship between the body and space, using multi-modal responses. My work aims to capture dualities and stimulate contemplative meditation through the juxtaposition of tangible and intangible, clear and hazy, large and small, and intimate and distant elements.

Diana Rojas explores the hidden and invisible through interdisciplinary collaboration and conversation across fields such as Philosophy, Music Composition, Physics, Material Science and Visual Art. The tools and environments she creates - by utilizing the archaic and contemporary, the digital and sculptural, known and unknown, and the minute and immersive -culminate in experiential works that prompt viewers to slow down and inspire introspection. The slowing down that these works provoke raises questions about existence, reality and being. By combining materials and elements of theories and devices of exploration, she references their antecedents, but creates new opportunities for viewer investigation. This includes utilizing creative coding, video, 3D modeling, welding steel, kiln forming and soldering glass, and cutilizing sand as projection screens. Additionally, she utilizes sound and light to create captivating installations, inspired by interest in the influence that immaterial forces have on human minds and decisions.

My work explores my identity as a Latino, veteran, and father, and counteracts the lack of positive representation of men of color in society. While they are similar to traditional piñatas in their design and construction, my sculptures are based on abstract representations of my internalized identity. These anthropomorphic forms stand rather than being hung, enacting ownership over their space. This allows them to take on a newly assigned identity and presence. These forms allow me to display, articulate, and communicate. the struggles I have experienced throughout my life because of systemic oppression.

My ceramics are composed of two bodies of work poised against one another, one rendered in porcelain and colored inclusion stains combined in processes rooted within the practices of laminating clay, and the other made of brutal metallic black stoneware. The first are made of landscapes and abstractly depict them, while the latter represent ways in which we consume oil literally and metaphorically. Within myself are conflicting desires for convenient access to my environment and the loss of biodiversity caused by my unsustainable use of it. This is the core of the conflict between my pieces and my intention in making work is to embody my relationship with nature as influenced by my familial context in the US. All of the vessels are designed to be functional, but to serve used motor oil instead of food or drink. If the purpose of the objects is to represent my relationship with nature and the iteration of days, then the performance of them is meant to invoke the recognition of multiform oil consumption and the effect it has on my life.

Titled after a poem by Edgar Allan Poe, From Every Depth of Good and Ill, is an exhibition composed of vignettes created with ceramic sculpture, ephemeral installation works, and printmaking. The work primarily references domesticity and antiquated subjects to illustrate the process of coping with past trauma and the resultant feelings of shame, inadequacy, and incompleteness. Marked by a palette of warm rust and sepia, aged patterning, and worn textures, the tableau of objects presented within the space mimic old familial photographs. Each resulting work serves as a dirty looking-glass for the viewer to peer through.

Rainbows, Stones and Ghosts is a two-part exhibition of multi-dimensional drawings about the almost and the not-yet-made. My Project-in-Lieu-of Thesis exists physically as a series of oil paintings, works on paper, and a site-specific sculptural installation. With recurring imagery of rainbows, stones, and construction debris, the works reimagine their subjects as icons and objects of potential. Highlighting time, labor, and material, my project questions the creation of value, status, and the concept of the ‘ideal’. My drawings dissolve the boundary between the absence and presence by continuously breaking down, expanding, and reimagining their surfaces, subjects, and sites. Rainbows, Stones and Ghosts is an invitation to navigate the ‘almost’ as an immersive space of possibility.

My artistic practice centers around personal history, connection, and identity. I reflect on my experience as a Nigerian who has lived on three continents thus far, and how those experiences have led to the deconstruction, reassembly, and hybridization of my identity. My work pays homage to my tribe of origin, Yoruba, whilst redefining and exploring the hybridity that exists as a result of cross-cultural influences that are prominent in our world today. I incorporate varying objects and materials such as jewelry, sculpture, wood, metal, and fiber. This integration speaks to the multicultural existence of the world I live in the interrelationship between Nigeria and the West.

This research project studies ways that space shapes identity by examining a contemporary sculpture using a multicultural theory. The author focuses on analyzing the role of physical space in the construction of cultural identity across time by studying Mariana Castillo-Deball’s No Solid Form Can Contain You (2010) through Gloria Anzaldua’s Nepantilism theory.

Bach and Chopin were both virtuosi on their respective keyboard instruments and were considered as successful performers. This study analyzes the Influence of the Preludes from the Well-Tempered Clavier of J. S. Bach on the Preludes and Etudes of Chopin. They both exploited their keyboard instruments to the fullest. The study concluded that what Bach achieved in his preludes and fugues, Chopin imitated in the spirit of his age.

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 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.

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 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 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.

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 examines the myth of femininity and the author's own perception towards it through an analysis of seven pieces of art work and related literature. R. Renee Sherrer explores the representation of concepts and the use of image to impart a message.

This paper examines the surface effects of the salt-bisque technique on clay forms and its evolution through the introduction of seven-sodium based chemicals. Genevieve Espinosa walks the reader through a series of tests and procedures in three stages: the formative, decorative, and conclusive (firing) stages.

This paper discusses the portrayal of the character of Carmen in the novel written by Prosper Mérimée and in the opera written by Georges Bizet. Sharon Grahnquist provides historical background to the character and her creation, and offers and interpretation of the intended performance.

This paper investigates Henri Murger's novel, Scenes de la Vie de Bohème, as a model for the opera composed by Giacomo Puccini La Bohème. Colleen Hughes Mallette discusses the historical background of the works and examines the music and story.

This paper analyzes Carl Nielsen's Concerto for Flute and Orchestra. Marilyn Seale Depp identifies the significance of the piece and explores its melodic development, also providing background on Carl Nielsen's philosophy and composition style.

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.