I examined and evaluated three sets of gallery installations and related handmade books. The following questions were considered foremost: 1) Visually, how different from and how similar to the gallery installations are the books? 2) What verbal elements are adapted from the installations to the books? 3) How does the difference in format (that is, the books) alter or affect the content and meaning of the installations?

The purpose of this project was to investigate the use of non-traditional painting techniques on the images of my work. The following questions were specifically considered. 1. When and why in the process do decisions occur concerning the following: A. Subject or idea or motivation? B. Materials? C. Shaping? D. Color? E. Texture or embellishment? 2. Does the motivation change at any point in the process? 3. With the emergence of the final form is there an awareness of content (or intrinsic meaning) which was absent or completely nebulous at the inception?

The problem being dealt with concerns the investigation of the conceptual and expressive potential of mold-formed units in combination with other media and processes. The questions under consideration are as follows: 1. Do the concepts of pieces vary with the materials and process being used? How? 2. What alterations occur in the visual image as a result of the change in media and processes? 3. What mechanical and technical problems are involved in the mold-formed process?

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

The primary purpose of this study was to investigate how imagery evolved in my work, in dealing with the relationship between body and landscape and the relationship between image and abstraction. Five paintings were created for the investigation of the evolution in my imagery. A journal of notes was kept concerning each piece while in progress and immediately following its completion. The analyzing method was a visual analysis of the structure and content, as well as the process through which the imagery evolved.

My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.

In order to arrive at a more consistent and clear personal understanding of the nature of art, I examined the ideas about art and aesthetics which were reflected in my works of the past several months. Some of the specific questions i asked in my investigation of the works were: 1. What are my thoughts on the role of content and form in my visual art? 2. What are my thoughts on the role of the viewer in visual art? 3. What are my thoughts on the role of permanence in visual art? 4. What are my thoughts on the role of appropriated imagery in visual art? 5. What are my thoughts on the role of expression in visual art?

The purpose of this study was to examine the difference between language and the use of visual imagery to represent experiences and ideas. It focused on the following questions: 1. Can the meaning of a painting be ascertained by analyzing the referents of the images and their relationships to one another? 2. How does the purely formal part of the painting function in the creation of meaning? 3. What is the difference in the meaning created by language and visual imagery when they were used to represent the same idea or experience? 4. Where do my ideas come from?

Two ways of apprehending reality were intimated; reality as a function of purely visual stimuli and reality as a substantial object. The problem was, therefore, an exploration of reality as a purely visual sense and reality as concrete form. In pursuing the project, I explored how each reality distinguished itself by separating each in the prior conception of the work and in the subsequent discussion.

My problem was to combine warp ikat woven in crowfoot satin weave with supplementary weft techniques, in order to increase visual depth and maintain visual unity.

In the history of ceramics my interest centers around times in particular cultures when ceramic containers were an essential part of life. I am most interested in functional pottery produced in nineteenth century North America between the years 1800-1870. This was a period in which some of the finest pots used for containing things were produced.

The purpose of this project was to manipulate imagery present within the Tarot in a symbolic and visual space working through my own process of preconception. Each of the finished pieces was to be derived through an initial traditional process and then altered by use of monoprint methods and the incorporation of found object directly upon the print surface to give the illusion of a three-dimensional character, or actually contain the print in a three-dimensional format.

The problem of this investigation was to determine if there was a relationship between scale, forma and technique in the making of welded steel sculpture, and to determine the best method(s) of working on three size categories and in two basic categories of form. The size categories were two to four feet, four to eight feet and over eight feet in any dimension with the other dimensions such that the sculpture enclosed a volume of space. The two categories of form were geometric or inorganic (forms based on geometry or mathematics) and organic (forms found in, or resembling those in nature). The effects of scale, form, and technique(s) in the production of these sculptures were observed and a determination was made concerning which technique presented the most advantageous approach to the creation of welded steel sculpture in each category.

The purpose of this project was to create and present groups of stelae which contain personal imagery derived from archetypal feminine symbols used as hieroglyphs. The groupings of the stelae, by nature of the problem, took on a ritual appearance. Two groups of twelve stelae each were constructed with materials and techniques used in a fiber tradition. Each individual stele was designed to function alone as well as in a group.

My interest in pictorial representationalism began when I started painting and drawing as a child, and my concern for working realistically continued and developed through my undergraduate years in college. In this investigation i explored the working processes used in a representational approach to contemporary woven tapestries. A brief discussion of the origins of representational woven tapestries with concentration upon Twentieth Century textiles was followed by an analysis of the influences upon my work by artists and stylistic trends.

The investigation concerned itself with the following questions: 1. What was the relationship of the structural grid system to the layered materials? 2. How much of the final results of the works were dependent on the process of constructing the pieces? 3. What processes were used to change surface quality? 4. What were the various methods of installation in a gallery?

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 unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

The intent of this problem was twofold: (1) to demonstrate the adaptability of woven tubular forms in an exhibition space and (2) to demonstrate how support structures could be successfully combined with woven fabric forms as part of the overall design. The problem was executed to alleviate some of the limitations imposed by exhibition spaces. Specifically, the more versatile the piece, the greater the potential for aesthetic and structural effect.

The purpose of this study was to examine the standard line of functional pottery produced in my studio. It involved two areas, and the questions I presented to myself were the following: 1. How is each form developed? 2. What consideration is given to the specific function of that form? 3. How can the development of a standard line of production strengthen the personal style of my pots?

The focal point of the study was the use of gestural and photographic imagery in printmaking, and how that imagery could be combined to form a personal aesthetic. The purpose of this project was twofold: to create, describe, and interpret works which called attention to the dichotomy and unification of gestural and photographic imagery; and, to allow for positive personal growth, which would be absorbed into future studio work.

The intent of this project was to utilize hakeme in a personal and cross-cultural manner. This was a reinterpretation of a traditional Oriental technique. Reflecting my own background and interest in earthenware pottery, hakeme was adapted for use on low fire red clay. This reorientation of the hakeme technique to low fire ceramics indicated the strong western influence that i wished to integrate into this body of work. Hakeme was utilized in a self-conscious manner and became a less restrained translation of the technique.

I have designed and built a brickless ceramic studio kiln which is modular in design and consists of ceramic fiber insulation and a protective aluminum exterior skin. I wanted a kiln that employed current technology and would be suited to my needs as a ceramic artist. It is my hope that this research will encourage people to consider the possibilities available when constructing new kilns and to be willing to experiment in order to find new solutions to the problems that continually confront us.

I constructed ceramic/mixed media instruments, recorded rhythmic music composed for and played on my instruments, and prepared a slide presentation portraying my daily rituals a studio artist. I describe in this paper the process involved in creating this environment and give an interpretation of the work by answering the following questions. 1. What were the rituals that were essential to the creation of my work? 2. In what ways did the use of the different visual and audio media work together to create a unified environment? 3. In what ways was the total experience of the different media a more direct and fulfilling expression of my goals as an artist, or are these goals better fulfilled when working in one media?