This descriptive report is designed to document the development of this conceptual structure. The purpose is to clarify each aspect of the metaphor and its relationship to the conceptual structure thereby providing more organized , as well as new material to strengthen future work. This metaphor serves as a triggering mechanism for visual imagery.

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?

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.

Each design attempted to fulfill three requirements. The design should be effective as displayed in an exhibition; it should retain its sculptural effect when worn; and it should convey a feeling of envelopment for the wearer. In addition to these requirements, the seven pieces were designed and constructed with four problems in mind. First, how did changes in media or technique effect each garment in terms of surface embellishment, drapability, et cetera? Second, how did the scale of a garment alter the medium or technique used and the pattern shape used? Third, what were the design limitations of both the folded rectangle construction and the wing-sleeve design with triangular pattern shapes? Fourth, were some designs more successful than others in creating an envelopment for the body?

The purpose of this study was to bring a new conceptual quantitative balance to the existing elements in my work thereby establishing a new clarity. It was felt that the above accomplishment would bring about new worth; so that when my work was perceived it would have a greater impact upon the viewer. An expectant visual richness in the imagery would prove that it had been strengthened through simplification of the relationship of form to content. This new visual richness would bring about a new conceptual level to the work, because it had been synthesized into a meaningful statement.

The primary objective of this creative project was to create an environmental performance through the use of light as the principal medium. Most of the photographic imagery had been completed. The remaining task involved creating an effective and workable system to integrate the projected imagery with the neon light placements. Each system, illustrated in the figures, attempted to create a different approach in using the light mediums.

This project was designed to afford me the opportunity to work with the possibility of combining painting and music through the creation of narrative art. I endeavored to produce a body of work in which the individual paintings and songs would also stand on their own as autonomous works, and still function as components of a work that was larger in scope. The challenge was to develop the visual and verbal elements into a unified whole.