The project involved producing a group (16) of audio-visual installations that successfully displayed and exposed various Muzak situations. The following questions, relating to individual pieces, were of concern: 1. What is the basic intent of each installation or piece? 2. Does the piece communicate the intent of the artist? 3. Which installations or pieces will adapt to any space? 4. What visual documentation is necessary to preserve the idea?

Dreams can be defined as a series of thoughts, images, or emotions that occur during sleep. The impression of strangeness, which is certainly a characteristic of dreaming, comes from three primary performances: (1) a loosened temporal and spacial world, (2) short attentional controls and (3) fewer critical evaluations. In dreams, time and matter are not bound by physical properties, and scenes may change with remarkable rapidity or awesome slowness. One out of three people can recall dreams upon awakening. During a night's sleep there are usually three separate dream periods per night, which contain at least two dream stories within each period.

In this creative project, I chose to explore the visual potentials of combining plastic materials with paper or fabric or both in such a way as to produce both visually strong and personally meaningful works. During the completion of the ten pieces, a written journal was kept in order to maintain a record of the progress and outcome of this investigation. In addition, data was illustrated by photographic slides. One piece was photographed at various stages of development, and all of the pieces were photographed at completion. The following analysis of the finished work was made from this information.

The purpose of this study was to give information on watercolor painting in combination with printmaking and secondary media. The objectives of the creative problem were stated in two parts. The first dealt with the exploration into kinds of secondary media which affect the printed surfaces and the watercolors, and the second dealt with the investigation into the kinds of secondary media that can be effectively integrated with the collograph and the monoprint.

Experimentations with overlays of color within my imagery have developed an interest in surface embellishment resulting from the juxtaposition of overlapping hues, integration of collage, and extended use of mixed-media as a printed visual statement. Past printmaking experiences include exploration of a variety of procedures including lithography, intaglio, and serigraphy. Prints have been executed in edition and monoprints, singular techniques and in combination. Individual techniques were expanded through the use of collage and linear application of graphite.

The questions I have addressed in regard to neutralization were as follows: 1. How important was the figure to the environment? 2. How far could the figure's physical presence be reduced and still contribute to the concepts of the painting? 3. How vividly was the figure presented while still complying with the requirements to meet neutralization? 4. Did color and texture aid in neutralizing the figure, and, if so, how? 5. Did the scale of the paintings have any effect on the neutralization process?

The primary concerns and problems which were addressed in this project were: 1. were the shaped formats more of less effective when derived directly from maps and/or photographic panoramas as opposed to deriving them from my own memory and imagination? 2.Was the negative space in which the intaglio prints float, more or less effective than the paintings and drawings which have no bordering negative space? 3. What differences exist in the spontaneous imagery when putting down the initial marks, with my eyes closed, as opposed to when my eyes were open. 4. Did values painted, drawn, or printed over the spontaneous imagery expand the spacial implications and enhance the overall coordination? 5. What problems arose in construction of the shaped formats, how they were solved, and what was the best way to finish the edges for presentation?

The purpose of this project was to investigate the possibilities of reorganizing space by arranging woven modules. These units were to be separable and flexible in regard to their spacial relationships and interrelatedness in any installation. This problem was examined in these specific ways: 1) Is it possible to create a sense of volume in forms woven flat on a standard floor loom as simple, single-layer or double-layer fabrics and later manipulate them into three-dimensional structures? 2) how can fundamentally simple, fibrous materials be utilized to achieve an effect of scale without overpowering their intrinsic qualities? 3) To what extent, if any, will lighting interact with woven fabric to create the illusion of an extended space? 4) can woven modules be created with enough flexibility of form to be responsive to varying relationships to each other and to specific installation spaces?

Our problem was to produce art in a collaborative manner. Due to the nature of our problem, we proposed to explore specific aspects of collaborative art and answer these questions: 1. in what ways is the co-artist's input beneficial? 2. How are the artist's skills broadened by working with a fellow artist? 3. What is involved in developing a professional working relationship between male and female artist? 4. What understanding of differences in working styles is acquired? 5. What are the differences reflected in each artist's earlier works as compared to the collaborative pieces?

This study involves investigating the combination of delicately cast forms, domed shapes and forged silver into an aesthetic form of jewelry. The specific questions considered were as follows: 1) can the sequential interplay of forms be interrelated from initiation to completion of the study? 2) Can the techniques contrast with one another? 3) Can the scale of the forms be varied? 4) Can the three techniques of construction create body adornment? 5) Can these forms individually or in a combined grouping make a personal statement?

This project was an investigation into the specific influences upon my art produced by my living in Riyadh, Saudi Arabia for two years from August 1976 through August 1978. Initially, I had to make a major psychological and environmental adjustment. This period of adjustment, referred to as culture shock, was a time of personal confusion about the differences between the American and the Arabian cultures. I characterized my state of mind during this period as a psychological numbness and confusion. This adjustment period altered my interests so that the drawings I had done before I left the United States no longer held their original significance and new interests began to appear. I hope to identify some of the changes that occurred by examining and comparing my earlier drawings with those completed since my return.

The purpose of this problem was to investigate the advantages and limitations in the use of blacksmithing techniques combined with the construction techniques of arc welding and the use of power tools to construct large outdoor sculpture. Specific questions will be asked to determine the suitability of this method of working. The questions are: 1. Can blacksmithing techniques be used in the construction of large outdoor sculpture? a. what specific techniques are appropriate? b. Will some techniques be used more than others? 2. Will these techniques be used more than others? 2. Will these techniques take an inordinate amount of time and make them impractical for the artist to use?

The problem of this study will be to provide information on the degree of influence exerted by the choice of ground in the selection of collage elements and the final development of each collage.

The purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.

The problem consisted of creating a series of jewelry pieces in metal which embody the concept of a self-portrait. Each piece in the series has a physical outside and an inside area in its structure which together form a conceptual self-portrait. Each piece was partly preplanned in detail and partly spontaneously executed. The spontaneously executed parts of the individual pieces serve to include the presence of the subconscious self-image. The series when viewed as a whole or as individual parts will give an insight to my self-image.

For my project, I chose to construct ten containers in which clay and non-traditional drawings were combined. The various materials used were ceramics, drawings on Plexiglas, wood, and other found materials. The questions to be answered by the completion of the ten pieces were the following: 1. What types of containers are most complimentary in combining ceramics and drawings? 2. What types of drawing media are most successful for combining drawings with ceramics? 3. What types of presentation are most successful? 4. What three-dimensional materials other than ceramics are visually important in the combined pieces?

This problem concerns the feasibility of combining the elements of light and clay in a sculptural concept of design. The study has determined various procedures of combining the sculptural ceramic forms for the internal inplant of light sources. Specific questions posed were 1. Can the surface decoration be enhanced by external and internal lighting? 2. How does each surface quality, raku, and low-fire salt glaze differ with the interplay of light? 3. In what way may two surface qualities be applied to the same sculptural ceramic forms? 4. How does scale effect each of the pieces?

The purpose of this problem was to investigate the advantages and possible limitations of horizontal, vertical, and contour laminating to the sculptural form. Specific questions were set forth to help determine the different aspects of these types of lamination. The specific questions for which answers were sought are as follow. 1. How complex a design can be executed by the laminating process? 2. How close to the design will the initial lamination be? 3. What are the best methods of lamination for each process: types of clamps, types of wood, types of glue, dowels and weights? 4. How successful may these lamination techniques be combined? 5. As the work was in progress, which became more important-- the surface quality or the form? 6. Will laminated forms remain stable?

Up until this time I have made little effort to investigate the mental processes that I use in the development of these metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I therefore decided on a creative project that would investigate the use of the metaphor in my art work. In order to discover something about the development of my metaphors, I asked myself questions during a period of artistic work.

The purpose of the creative project was to investigate the relationship of figure to ground in a series of paintings in order to better understand how I perceive the space in my work and to analyze the block-out process. Questions regarding the figure/ground relationship are as follow: 1. What is figure, what is ground and what is ambiguous as I see it? 2. What effects do overlapping, shape size, color and value have upon the figure/ground relationship? The portion of the investigation concerning the block-out process has two questions. They are as follow: 1. How do I begin the block-out process? 2. How do I decide what to block out?

My problem was to investigate some of the possibilities which have arisen through my previous work by producing twelve fabric pieces and eight paper pieces. Specifically, the following questions were to be examined: 1. Are there traditional designs or techniques in quilts of the past that can be utilized in my own work? 2. Are the primary colors (red, yellow, blue) in manufactured unaltered fabric more effective than painted or altered fabric? 3. Is there a correlation between the color and imagery in the paper pieces and those of the fabric pieces? 4. Of the project pieces, is there a size that generally appears to be more successful than others?

The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

The introduction to printmaking in most universities and college directs students to learn the basic techniques of intaglio using zinc. This continues throughout one's academic career, with little emphasis placed on experimentation with other metals. During my undergraduate and graduate studies I etched with zinc. I had wanted to use aluminium and magnesium in order to explore the similar and dissimilar qualities of the three.

The purpose of this project is to provide a record, much like the ones left to us by Michelangelo and Leonardo da Vinci, of the personal influences which motivated the present artist to function productively as a sculptor for a period of one semester: from September 1, 1975 through December 12, 1975. The methods involved in charting such artistic transpirations consisted of two types: a written diary, daily recorded, which indicated the progress, regression, frustration, inspiration, and perceptions which were experienced by the artist during the three-month period; and a series of personal, emotional self-enquiries.