Prior to 1990 I worked exclusively with large scale formats, using traditional oil painting media on canvas. During that year I became interested in the effect produced by more intimate passages within larger works. Discovery of a scroll of Chinese ink drawings in 1992 increased my interest in small scale composition.

It was my intent to find objects that were both historically symbolic and symbolic of the times we live in, and that could be melded into a nineteenth century interior where their presence would be secondary to the overall atmosphere. I wanted to incorporate objects that would function as metaphors or personal symbols as well as historical icons.

The focus of my study is the utilization of fiber to create interpretations of animal skins that reflect the cycle of nature through varying degrees of multiplication and repetition of the fibers. In exploring this problem, I have addressed the following questions: 1. Which fibers work best for achieving these interpretations? 2. What problems were encountered in creating structural supports? 3. What are the effects of repeating fiber elements?

Through this study I intended to analyze and determine the significance of the recurring imagery that emerged as an integral part of my compositions. Furthermore, I attempted to discern the importance and over all the effects of the small scale upon my work and determine how vital is the spontaneity that is used to obtain each composition.

To emphasize the preciousness of these tools, I envisioned object-specific carrying cases, like a violin case or my grandmother's china cabinet. The object-specific case or cabinet is, like the tool it houses, special and singular inits utility and serves to underscore the ceremonial nature of the tool. Of all the examples of object-specific environments I've looked at, most have been constructed of fine woods; many have also been either covered or lined with various skins, silk, or velvet to reflect the preciousness of their contents.

The purpose of this study was to use the bomaki/arashi shibori process to create three-dimensional fabric forms which could be incorporated by the design of a garment.

I proposed that two factors could be adjusted in a series of rings in order to achieve total control of implied movement: Proximity and angulation of components. Through careful adjustment of these two factors, I theorized that the implied motion in a ring series could be accelerated, slowed, or omitted altogether.

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.

The triumphs over daily conflicts correspond to monuments that commemorate specific events of my life as a woman. The monuments commemorating these events necessitated an intimate format because the events depicted deserve close personal attention. The intimate scale offers the option of being presented as a sculpture with a base that has a detachable, wearable part.

Dualities of all kinds exist in the world today. Being a visual artist and sculptor I recognize these dualities every day of my life in the natural and man-made forms I see. These forms can be broken down into two categories: the geometric and the organic. The purpose of this problem in lieu of thesis was to explore how organic and geometric form could be combined to create a unified sculpture in stone and how the finished sculpture affected me as a viewer. The figure was the main organic form represented and addressed in this problem.

In this proposed study, I hoped to discover compositional elements that once added to the work would convey my conceptual ideas. I was interested in exploring the addition of deep pictorial space and increasing the size disparity between the figures as possible solutions for injecting a level of irony and/or eluding to the subverted agenda of the content. I wanted to see if these two secondary compositional adjustments subtly conveyed not only a strategic contradiction of the art historical concept of expressionism but the numerous accepted truths in society.

In this project, I further examined my work as a fictional layering of vernacular culture within the discourse of historical art. This investigation addressed the sources of my art, both in the outside world and in the context of an inherited art tradition. I focused on the issues of the formation and function of my work as an estheticized representation of this culture.

Using this conflict between death and dying versus hope and new life, I searched for an undogmatic way to convey a Christian antidote to the despair and ugliness of post modern art. The struggle was to find the imagery, format, and media combinations to express a vision, with realism and hope, for the late twentieth century, in a unique and interesting context.

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.

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.

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.

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.

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.

I has been almost four years since this change of perception from "belief" to "disbelief." Looking back I can say this shift can be characterized as "belief" standing for an idea of art which requires it to represent a singular closed reading, while "disbelief" stands for a realization of an art which corresponds more with the complexities of social interaction and produces work with an array of possible readings. Or more simply stated, "belief" requires the desire to destabilize meaning. Or even more simply stated, "belief" equals "truth," while "disbelief" equals the absence of "truth."

In this proposed study, I had hoped to discover new strategies to develop imagery. I also wanted to know if using strategies in my work that expressed the psyche of myself, would work to express the psyche of other people. By using new and old strategies, I wanted to see not only if the outside face of people in photographs could be misread but if the inside face of people could be expressed.

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.

In this body of work I have attempted to unify those aspects of utilitarian pottery and sculptural ceramics which I value most. I intended to join the inherent interactive nature of pottery with the capacity of sculptural ceramics to convey content through a personal aesthetic. Through this exploration I have developed a stronger personal expression in clay.

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.