This problem in lieu of thesis centers around my work and involves the production of the film trilogy Knife, Fork and Spoon. The methodology for this project comes from my investigation of postmodernist theory and social norms. Three problems are addressed and my professional procedures and practices that helped me find solutions while working on these films are included in chapter two.

My approach to the art making process is a kind of poetic reverie on forms and spaces. Webster’s Encyclopedic Unabridged Dictionary defines reverie as “a state of dreamy meditation or fanciful musing; a daydream, a fantastic, visionary or unpractical idea.” It is a romantic notion that has less to do with the big questions of existence than it does the incidental parts of daily existence. Reverie is a state of mind that comes from being receptive and finding simple pleasure in the affects of imagination. My paintings, drawings and sculpture evolve out of the freedom to imagine shapes and spaces that describe different kinds of interactions. They come from recollection, awareness, and observation of the diverse sensual phenomena that surrounds me. The variety of interactions between forms such as contrast, imbalance, balance or synchronicity, have the potential to evoke various aspects of being: vulnerability, uncertainty, confidence, and determination. Possible interactions between shapes and spaces are what intrigue me most. Recently, I expanded the investigation of form to include objects and consideration of space. As the scale of my paintings and drawings grew, I became interested in the effects of three-dimensional objects in a space, such as a gallery. My inquiry …

During my career producing functional ceramics, I have followed a very traditional working methodology. As with many functional potters, I have always maintained a high level of productivity. Making many similar pieces allows me to develop an idea and to refine it through the working process. My method for developing a new piece is to first design the form, then to decide upon the desired manipulation of the surface planes and surface, and finally to consider the glazing and decoration to refine this new piece of pottery. I work with the new form systematically attempting to isolate and change specific elements, attempting to make each piece in the series more successful. Finally, changes are made to alter the form and decoration in order to achieve an integration of the new design into the present whole of my work. I make every piece intending that quality and craftsmanship will define each piece as an exceptional piece of pottery. Although my intention is that every piece be exceptional, the percentage of exceptional pots is not that high. In each kiln load, a minority of pieces meets my specific criteria of exceptionality. Although the other pots in each kiln load are of high …

I believe that our individual religious experiences are just that, individual. Each of us has a different reaction to every narration, sermon, situation, and experience. Further, I believe these experiences are understood and maintained in or through abstract thought. In the parable of Jonah and the whale, what do you picture while reading the story? Most of what took place lacks any physical evidence of existence. The voice of the Spirit, the face of God, the sound of prayer in multitude, even the person begin swallowed by the fish, are all abstract in character. My paintings are visual investigations into the idea that most of our religious experiences and concepts are abstract in nature, thought, and experience. Continuing my exploration of how my specific Christian experiences can be expressed through abstract painting, I investigated how the placement of the ellipse or ellipses as a dividing line affects the field and how surface development, layering and the expressiveness of high intensity colors affected the specific experience or Biblical narrative chosen.

This thesis studies the style of Native American portrait photographs of William S. Soule (1836-1908), John K. Hillers (1834-1925), and William E. Irwin (1871-1935), who worked in Oklahoma from 1869 to 1904. The examination of the three men's work revealed that each artist had different motivations for creating Native American portrait photographs, and a result, used a distinct style. However, despite the individual artistic styles, each artist conformed to Native American stereotypes common during the nineteenth-century. The thesis includes a discussion of the history of the area, photographer biographies, a stylistic analysis of the photographs, and how the images fit into American Indian stereotypes.

Modernist painters such as Picasso, Ernst and Matisse were among others who incorporated what was then considered "primitive" art, mostly from Africa and Oceania, into their works. Prior to this, European artists had appropriated Greco-Roman themes and characters. These appropriated elements were consequently recreated without their cultural context and content, altered to reflect more current themes. In most cases, attention was directed toward the recreator, the author of the new work of art, not the creator of the artifact. In contrast, Post-Modern artists, including myself, have reproduced appropriated elements virtually unaltered as a way of denying authorship and emphasizing a more conceptual format. Appropriated imagery has been a tool for me in my work. Additionally, both figurative and abstract elements play significant roles since I consider juxtaposition of elements to be a strength. The challenge of fitting these elements together has enabled me to develop a style of painting that seems uniquely mine. The formal issues of style and content figure heavily in my endeavor to capture a moment in time; something lost forever except for its persistence in memory. These reflections are often imbued with personal icons, arcane text and symbolic drawing that weave in and out of the …

The purpose of this investigation is to explore the possibilities of manipulating clay in three distinct ways to effectively show that clay objects were at one time moist and pliable. The techniques used are faceting while wet, manipulating a variety of additions, applying different glazing techniques, and three separate firing methods. In addressing the problem, the following concerns were considered: (a) Which of the pieces made best expresses my aesthetic concerns? (b) Which firing method, oxidation, reduction or atmospheric, best illustrates these concerns? (c) Which glazing technique was most successful? In an attempt to explore and solve these problems, a series of twenty pieces were produced. A visual record of slides showing individual pieces were made to demonstrate the differences and similarities between firing methods.

Most of my childhood was spent in either the expansive suburbs of north Texas or on a farm in southern Oklahoma. The experience of growing up in these two regions has done much to shape my sense of aesthetic. From these early experiences, I have developed two completely divergent ideas of beauty which I've tried to reconcile in my artwork. The first influence is that of sparseness, simplicity and the commonplace. This influence comes from the emptiness of the suburban landscape, the sameness of its architecture and the need to find beauty in mundane things as a simple cure for boredom. The second major idea is centered around peculiarity, chaotic complexity and irrationality. This interest originally stems from early memories of my grandfather, whose experiences in Oklahoma during the Great Depression gave him the obsessive habit of never discarding anything for fear that he might need it some day. The complexity in meaning that comes from unfamiliar combinations has allowed the ideas in my work a kind of ambiguity that frees it from any singular reading. I think the content of my work could best be described as constructions of memories, experiences and influences. I never speak about any one …

This thesis explores the relationship of the Sermo Angelicus of St. Birgitta of Sweden, written in the fourteenth century, with the Nativity/Concert of Angels panel of the Isenheim Altarpiece, painted by Matthias Grunewald in 1514 for a hospital and monastery run by the Antonite Order. Taking into consideration the context of the altarpiece, this thesis analyzes its iconography in relation to specific passages from the Sermo Angelicus, suggesting that the text was a possible source used by the Antonites in the Nativity/Concert of Angels panel. By doing so, parallel themes of salvation in both the text and the panel are discovered that in turn relate to the altarpiece in its entirety and present a message fashioned specifically for those patients at the hospital at Isenheim that viewed the altarpiece.

This thesis examines similarities in photographs made by the contemporary photographer Keith Carter and photographers active with the Farm Security Administration during the 1930s. Stylistically and in function, works by Carter and these photographers comment on social and cultural values of a region. This thesis demonstrates that many of Carter's black and white photographs continue, contribute to, and expand traditions in American documentary photography established in the 1930s. These traditions include the representation of a specific geographic place that evokes the spirit of a time and place, and the ability to communicate to a viewer certain social conditions and values related to such a place.

This thesis covers a series of etchings created between 1998 and 2000 in completion of the requirements for graduation. The paper covers the origins and implications of the symbology within the artwork as well as the natural settings displayed. It also speaks of the mythos of art and symbols, as well as my strategy in Art making.

This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together.

There has been a growing trend in the film industry in the use of three dimensional computer generated images (3D CGI) for special effects. With the popularity of this relatively new medium comes the need for new terminology. This exploration developed a general system of classification for 3D CGI effects for use in film. This system was based on a study of various writings about the significant films, which employ 3D CGI effects. A three-group system of classification system was developed. The three-group system was composed of the Elements Group, Level of Reality Group, and the Kind Group. These terms were developed to aid in the day-to-day production of 3D CGI special effects in the future.

I want the viewers of my work to participate with me in a common experience. How I choose to communicate an experience in the work is intended to effect the viewer's level of understanding and participation. Toward this end, an exploration of nontraditional self-portraiture involving the viewer in a relationship with the artist will be used to maintain the visual dialogue imparted through the work. Utilization of recognizable symbols and icons within the work is meant to increase the clarity of my communication enhancing the viewer's involvement in the common experience. Color, as a concern will relate to the increased access and interest of the work to the viewer's experience and understanding.

A craftsman’s work evolves with time, new forms arise and old forms become more refined. This research attempts to study the evolution of pots over a designated period of time. The key findings include that the approach to glazing was relatively unchanged by the evolution in the work. However,the refinements that occurred in the work allowed the glazes to impart wonderful characteristics to the forms on which they are used.

Document that details the conception, evolution and conclusions of a body of work consisting of seven prints executed in the printmaking technique of intaglio printing in the manner of the state print. The work is discussed by explaining the visual and conceptual associations that occur in an "Alice In Wonderland" manner, where the initial idea is paired with seemingly unrelated topics to establish a progressive visual language. This language is further supported by discussing a comparative of the state print with the idea of the sketchbook as a tool of thought generation and elaboration. The technical aspects of intaglio and the choice of techniques utilized are discussed to support this comparison. How the quality of the prints reflects the quality of the sketchbook and how these techniques combine with the conceptual reasoning, which result in the body of work. Findings for the work are based on three questions that deal with the progression of conceptual reasoning, predictability of recurring ideas and the intentions of the technical choices made.

The images that I sculpt deal with reflections of human traits. Wood lends itself to this endeavor, offering minimal resistance to manipulation. Keeping the origin and qualities of the material while manipulating it into another object is a statement within itself. Letting the wood do what it does naturally keeps the viewer in touch with the fact it is still just an object of nature. Wood does not make itself any less real because of the relationship of the sculpture to it as wood.

This Problem in Lieu of Thesis documents the thought processes that led to the completion of a series of five interactive sculptures. Each piece incorporates a part of the human body taken from its normal context and placed into the context of children's playground equipment.

The metamorphosis and transformation of forms as metaphors continued to be the focus of my work. The use of modular forms with lightweight materials increased mass and volume in my work. The reconstructing and reassembling of sculptures formed with modules was an excellent vehicle for the content of metamorphosis and transformation. The focus of this problem was to create a series of multi-media art pieces that were each composed of a number of modules.

a. How does the use of different materials such as string, screen, fabric or wire personalize the work? b. How does the addition of subtly recognizable imagery change the reductive field? c. How do processes such as wrapping, printing, dripping, and other techniques infer meaning? d. How does the choice of color and scale affect the work?

The interaction of the construction and the images was the focus of my proposed exploration. Previously, I viewed the images as the vehicle for content with little thought to the construction. I thought of the construction as a painter might think of his or her canvas, a place for the images to reside. The relationship between constructions as part of my content is essential. Exploration of form and image will push the limits of how the images and constructions may interact. Now that I was conscious of the construction being included in the content, I wanted to discover how the ideation process would change. I was also hoping to determine how the imagery would be affected by the redirection of my decision making process concerning the construction as part of the content.

My interest in the patterns of nature and culture has led me on a long journey through studies of math, sciences, and religions culminating in my current studies in art. Continuing my inquiry into processes of human perception and conception of time. My intention was to incorporate the "process" aspect of the printmaking medium into the final work by creating hybrid works that would take the "print" out of its traditional two-dimensional form. Finally, I planned to utilize the "multiple" aspect of printmaking to address ideas of patterns and evolution.

My premise was the marriage of two forms, book and sculpture. My goal was to determine if these two unique types of work could be joined as one. In each oth the proposed works, I focused on an element of design as well as the challenges present when works are produced for a particular space (the Cora Stafford Gallery).

I have suggested that the ornamental element employed in my painting functions as historical, cultural and social text, and also as a carrier of ideas and ideals about beauty and art which have been invalidated by the Modernist view. I will explore how the elements of painting: material, paint application, palette, figure/ground relationship, scale and other formal and technical factors, combine and interact to transform, contradict, subvert or negate the ornamental element in the painting; and how in turn these combinations effect the way the paintings function both formally and in terms of content.