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 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 paper discusses the creation process of thirteen works by the author addressing women's issues using mannequins of actual women as a metaphor. Robyn Beirman Jamison discusses interviewing and photographing the women, creating the works, and the imagery of objectification of women by society.

I plan to create a representation of the textures of four distinct states of moving water in three stone sculptures. These structured textural elements are intended to provide compelling visual stimuli that will enhance the viewers' understanding of the sculptures. The dynamic quality of rhythm inherent in the four observable patterns will be conceptually and physically captured on a stone surface.

I proposed to base my thesis work upon an exploration of the ideas of the strength, power, and tenuous quality of metals, using a variety of metals in combination with appropriated and deconstructed forms to create cultural narratives. In this exploration, I addressed the materials of metalsmithing and their traditional use.

The figure within the paintings function not only representations, but as surrogates for the subjects depicted. The artist believes that allegory goes beyond Western civilization. By applying allegories to our moder world, we can add to them rich in subliminal messages and keep them going.

I endeavored to investigate how temporal forms could be used as an avenue for addressing my sculptural concerns. These concerns included the relationship of form to material, the temporary manifestation of enduring principles, and responsibility to materials and their meanings. My pursuit of this investigation arose from both a search for alternatives in a field with a tradition of permanent object orientation and an effort to expand my own perceptions of what constitutes sculpture and the activity of sculpting.

I Investigated the use of unpremeditated and reactionary methods of composing to arrange the landscape and figurative elements in my paintings. Though it may not necessarily be the case, these paintings may appear to have a narrative structure. The media, graphic imagery, and figure/ground relationships have given me a feedback loop, a guide by which I pictorially arranged the remainder of the developing composition. The painting revealed its identity and direction in this way to me. The application of a comic book style was the other consistent form with which I composed.

The purpose of this study was to assess the outcome of a therapeutic horseback riding program on physically disabled.

The large scale format allows the images I created to have a more pronounced impact on the viewer. Self-reflective subject matter exhibited within the large attention-getting style allows an audience to better connect and identify with the figures in my work. The piece is a series of large scale paintings butted together both side by side at one hundred thirty-five-degree angles that provides a vehicle to surround the viewer. The paintings, when placed together, form a continuous image and present themselves as one extensive piece.