The goal of the work was to infect traditional ideas of beauty and authority with late Twentieth-Century culture and to thereby create an artifact that would reflect the multiplicity of our culture. My work, to date, has dealt with single works of a consistent media combining two and three-dimensional elements. I proposed to add to the complexity of my stated goal through a more varied use of medium; audio, photography, lighting, paint on canvas, reprocessed found objects as well as materials with which I presently work. Some of the work would extend off the wall or ceiling or floor into what might be called the "viewer's space." The end result would be a group of works which created a narrative and would culminate into a single work to be installed in a space as yet undetermined. Site possibilities I considered were my studio, the university gallery, and the critique room in Oak Street Hall.

Although clay has been used throughout history as an embellishment of architectural structures, clay elements have usually remained subordinate to existing architectural forms. Three-dimensional ceramic modules which divided an existing space, altered or obscured architectural forms, and intersected with or penetrated established planes provided a greater interaction between clay and architecture. I explored the use of clay as an integral three-dimensional element which interacted with an architectural space, rather than merely surfacing it. Because the installation of these works was temporary, methods of connecting the clay elements to the architecture were also investigated.

The purpose of this research was to develop a body of work which exhibited unity between form and surface, but which relied upon a combination of deliberate intent (specific form, glaze, firing temperature, etc.) and the occurrence of random accident to achieve this unity. The project dealt with the integration of altered wheel-thrown and hand-built organic clay forms with a variety of surface treatments. The firing/glazing techniques chosen (which included cone 9 reduction firing, raku firing, and saggar firing) could be controlled to some degree. However, even minor differences in glaze and/or firing treatments evolved through a variety of chance incidents into marked differences in the finished piece.

I wished to explore ways to introduce my futuristic symbols in my work that have a relevant universality, support a primordial mysticism, and maintain a personal spirituality. This would be achieved by utilizing imagery with both contemporary and futuristic connotations. This type of imagery would require specific sculptural techniques more refined than was previously present in my work. The sculpture would consist of solitary, tensely postured, monumental figures composed according to a classically proportioned totemic model.

I believe the frame or housing of a printed image plays an integral role in the context of the work. It functions as a vehicle for possible interpretation. It should respond to and complement the concept of the central image. The image presented in a vessel or reliquary format should instill a meditative or religious response.

The purpose of this study was to investigate the personal success of using photographs as source material for woodcuts or other relief prints, and to determine how my selectivity, editing, and execution would enhance the content of these works. I proposed to create a body of woodcuts whose subject matter would be based on photographs dealing with the scenes and legends of Texas.

The emotional and psychological reaction to a chalice is determined in part by the visual impact of the vessel. The goal of this problem has been to explore the visual impact of contemporary techniques and traditional materials, combined with multi-cultural imagery on the perception of the vessel as a chalice.

This paper describes the artist's conception of their scientific knowledge and spiritual beliefs, and the juxtaposition of the two in a single awareness. Michael Muller discusses the use of printmaking, drawing, and photo mechanical processes to represent this awareness through visual imagery, and includes photographs of the works.