In my Problem in Lieu of Thesis I explored the use of analogy in my work. I searched for ways to heighten the difference or distance between the imagery within an analogous relationship and yet maintain meaningful similarities or relationships. An analogy, for the purpose of this paper is defined as the following: "a similarity or likeness between things in some circumstances or effects, when the things are otherwise entirely different."

My research explored the possibilities of achieving the raku halo through variations of the standard engobe (pronounced on-gobe) and oxide formulas, using ceramic vessels as media. This included alterations of the ingredients, consistencies, and methods of application. Throughout the research, a journal was kept including individual information about research pieces, a statement of results, and my reaction to those effects. From this information, an analysis of the completed vessels was compiled.

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.

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 purposes of this Problem in Lieu of Thesis are: 1. To explore the use of stretched fabric over constructed wire armatures to create sculptural forms that suggest the potential for flight; and 2. To evaluate the artistic merits of such forms as they relate to an interior architectural environment.

From this investigation, I hoped to answer the following questions. 1) Was there a relationship between the apparent disorder evident at a boundary area and the wave form? 2. Was the wave configuration an archetypal motif? 3. If there was an archetypal wave form, did its presence transcend the use of a scientific medium?

Throughout history man has decorated paintings and art objects with materials as diverse as shells, seeds, beans, horns, seedpods, hair, feathers, ostrich eggs, coral and nuts. I proposed to explore the potential of using such materials to embellish framing devices for small paintings. Any material could be included in this exploration. The embellished frames have become a part of the total painting and are not removable. The solution included not only the practical, physical aspects of presentation, but also dealt with the purely visual aesthetic ones as well.

At the time of writing the proposal, one part of me wanted to move ahead and explore the new territory, while another part wanted to understand what I was leaving behind. I proposed to examine the following questions in order to resolve this dilemma: 1. What common personal themes or ideas are behind my work? How can I clarify and refine these themes to make them more manifest in my work? 2. Do I need to investigate new materials in order to express and explore my concerns? 3. Can I form a relation between my use of imagery and materials? Could new materials or objects replace this imagery? 4. Are new formal strategies needed that would link the use of my materials, objects, and imagery?

The purpose of this investigation, therefore, was to compare the viewer's perceptual response to the small-scale constructions with that of the large-scale ones. Specific questions of concern were: 1. What is my response as a viewer to these constructions when built as maquettes, with regard to the following specific concerns? a. Formal visual elements (i.e., line, shape, value, etc.). b. The presence of a sense of threat. c. Visual reference to a theatrical set. d. A make-believe, or childlike quality. e. Any physical or technical problems encountered. 2. What is my response as a viewer to the constructions when built on a large, or approximately life-sized scale, with regard to the same specific concerns listed above?

The project involved the investigation of the effects on my painting when switching from single, large-scale portraits to a narrative format involving two or more figures.