The focus of my graduate work was to find my own voice through my continued efforts in woodcarving. I proposed to produce six to eight wood carved sculptures for my thesis that would be dealing with a juxtaposition of struggle expressively portrayed by the figure between two-dimensional and three-dimensional worlds. I used these works to express my emotions about myself, and my interactions with others in a form of nonverbal communication with the viewer. The result of this process did lead me to find my own voice and with this voice I expressed three-dimensionally, not only my own struggles, but also those that many other women have experienced as well.

This problem in lieu of thesis concerns voyeurism and fetishism and how they relate to art. It addresses at voyeurism from both sides of the gaze. It describes a body of work that was created to explore the relationship between the voyeur and the fetish object and the viewer and the art object.

I have always believed the design of clothes should not try to conceal the naked body but should act as a catalyst that reveals the existence and strength of the individual. Spring Message includes three phases, Spring Message, Mystification, and My Paradise to reflect my three life experiences. Spring Message is an attempt to express my thoughts and ideas though designs in fashion, which were derived from the ancient beliefs, traditions, and western influence I have experienced. Through my individual pieces and creations I hope the viewer will be able to see who I am, where I came from, and understand the happiness and changes in my life.

When I am weaving I listen to music and notice that my hands and feet fall into a rhythm. This connection reminds me of playing the piano. I took a closer look at weaving drafts; the movement of the threading setup reminded me of the notes on musical scores. This relationship inspired me to see what textures I could achieve by actually weaving the musical notes. The focus of my study is the exploration of the relationships between weaving and music utilizing elements and principles found in both, such as: color, texture, form, repetition, rhythm, and time. Both music and color produce emotional responses and will be taken into consideration within the weavings.

This problem in lieu of thesis outlines a body of work that uses technology and pop elements to discover ways to understand what it means to be human. In doing so it expands the interpretation of technology, ontology, and pop, and allowed the artist to find an essential balance between the three. It details the understanding of these borrowed aesthetics and their connection to the creative process.

Recently my creative process has led to a new area of investigation and exploration. I have discovered that I enjoy the unexpected occurrences that happen while painting. I have an appreciation for the parts of my works that do not follow the preliminary sketch and are produced more subconsciously. While usually this aspect has been restricted by the adherence to a preliminary sketch and narrative, the new works explore these occurrences more fully. In the new works, I worked in a more spontaneous manner to create work that does not focus strictly on narrative but reveals itself more as a journey or exploration.

This study was designed to examine how four-year-old children might be able to respond and interpret works of art. Informed by Jean Piaget's and Lev Vygotsky's theories of cognitive development, and building on Micheal Parsons' and Abigail Housen's theories of aesthetic development, the study investigated whether or not four-year-olds are able to expand their initial responses to achieve deeper levels of understanding about works of art.

Chapter 1 describes my previous jewelry work related to my interest in body parts and other materials as medium and lockets. The questions in the statement of problem deal with how the use of a specific body site, color and incorporation of body parts in my jewelry make my work more intimate to the wearer. Chapter 2 discusses the work I focused around the questions proposed in Chapter 1. Important points are: a more focused way of using specific body sites to support my ideas, the use of different skin colors in my work, and the physical effect of my jewelry to the wearer. Chapter 3 expresses my own criticism about the work and my future goals after this project.

The focus of this project was on creating images of our industrial landscape and shows the coexistence of culture and nature. I confronted the landscape from a position that is accepting of our present landscape. While not idealizing the present industrial landscape I wanted to depict it in a way that is not devoid of beauty. I believe that no matter how the land is altered a certain grace still comes through in any landscape. In not idealizing or criticizing I wanted to show industrial areas in an accepting light and reveal the grace and beauty that is within every landscape. It is through my photographs and all the subjective decisions made when creating these images that make it possible for others to see the beauty in these industrial landscapes.

My objective was to make a body of work that used baroque sensibilities with my own connections to popular culture. A series of mixed media works and one installation were created that infused baroque motifs with present popular design. My interpretation of the presence of the Baroque was expanded by using vivid colors, textures, patterns and designs collected from my environment during an investigation of the theatrical fantasies of popular culture. I expected to make work that could be approached conceptually from different angles, while being seductive on the surface.

Chapter I describes the purpose of the project, which was to develop a body of work that exhibits my current thought process. The questions presented to myself consisted of the following: 1. How effective was the expression of my ideas socially and politically after the change to the work? 2. Was the minimal approach a tool that contributes or detracts from this effectiveness? 3. Did an increase in scale successfully act as an element of confrontation? Chapter II describes the inspiration behind the making of my work it also discusses problems encountered with an understanding of the viewer concerning imagery. Chapter III summarizes the methodology behind the execution of the new body of work. It also discusses how simplification of imagery works as a solution to my problems.

This article discusses the way people experience the landscape. Tracing the progress of landscape photography from the late nineteenth century to the present, the author introduces the way concepts in landscape photography have changed. The author's photographs are discussed regarding how they build on the foundation of this historical precedent. Using photographs of individuals at places they think are special, the author examines their perception of landscape. The positions and actions of the subjects shape the way their attitudes are conveyed. The concept of beauty is discussed as it relates to the appreciation of landscape. By discussing with the subjects why these places are special and photographing with the intent to convey what those reasons are, the author's photographs examine the relationship of people to the landscape.