My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

Questions that arise are: 1. How will the form and content of my current work be affected by a more implicit narrative form? 2. How will the work be affected by: a. source of imagery? b. scale of images and overall works? c. materials? d. intent? Will the intent of my current work change because of a more linear narrative format? 3. Assuming the narrative will change from one piece to another, what will be the effect of placement of images in each work and how will the placement of each work in relation to the others be affected?

My intent in this creative project has been to further explore the transcendence of reality in my work in seven still lifes. The body of work done for this problem was reviewed and analyzed after completion rather than during the process.

The purpose of this thesis project was to explore my decision-making process as it took place during the act of painting. I was interested in how my paintings evolved, either naturally or through a critical stage. Resolving a work which was in a crisis between success and failure was an important part of the creative process and required definite purposive action on my part. In this connection, I explored the nature of the decisions which either redirected my work toward a successful conclusion, or toward its abandonment.

The objective of my creative project was to decorate vertical and horizontal shapes using low-fire glazes with added organic materials. I experimented with the materials as introduced into the glaze formula, applied to the forms, and fired at low temperatures to obtain useful decoration for the ceramic medium.

The purpose of the creative project was an attempt to intensify the perceptual disruption while simultaneously continuing my exploration of the expressive power of certain images and symbols. These ideas were explored in a new series of paintings.

The purpose of this project was to develop a body of work in which the content has probable, if not definite, cross-cultural application. It was my intent to analyze images for their content and underlying themes. This collection of "image content" was to be used in the production of a body of work which hopefully would transcend cultural bias or limitations. I consulted art and anthropological texts, books, and periodicals (listed in bibliography) which contained images produced by different cultures.