The purpose of this study was to analyze the physical issues of verticality and architectural reference in the presentation of my figurative sculpture and to determine how these issues affect me as viewer. In this analysis, the term architectural reference refers to the fundamental structural elements historically associated with architecture, such as column, pylon, pilaster, pyramid, elevated platform, and bilateral symmetry. The term does not address broader architectural concepts such as spatial organization, circulation, or shelter.

I am interested, both from a personal standpoint and from a cultural perspective, in pursuing the meaning of thes eimages singly and as they combine with others. In turn, the results, I hope, will lead to the discovery of more images for my image encyclopedia. After this introduction subsequent chapters will explore my reasons for the combinations of images I choose and will place the finished drawings in their contemporary art context. My goal will be to note the changing meanings of the objects as they interact serially.

My work already shared some of the characteristics of the gravesites that I proposed to study. They were similar in that they both attempted to integrate sacred and profane imagery. Both called attention to personal events and related these events to a larger scheme. Finally, both were involved with the creation of objects of veneration according to personal edicts, but in relation to already established mythologies. I proposed to create a body of work based on the information gathered from the investigation of three predominantly Mexican graveyards-- one in Nuevo Laredo, Mexico, and two outside of Laredo, Texas.

Even Though I already did paint fairly rapidly, I felt I had a tendency to let the painting in progress sit too long in between times spent working on it. I also felt that I was spending too much time stepping back away from the work to look at it and was milling around the studio sometimes needlessly. Thus I became intrigued with the idea of doing a painting in one block of time. The purpose of this investigation was to explore and study the possibilities generated by a series of "one-sitting" paintings. I defined one-sitting painting as a painting which proceeded from beginning to end without a significant break, meaning that it could take anywhere from four to sixteen hours to complete.

There are three recurrent themes in my work: 1) environmental installations utilizing ecologically unsound materials 2) incorporating air space with plastics 3) conceptual inspiration derived from dreams. I proposed to address these three themes by employing materials traditionally used for industrial applications (as in plumbing supplies and dry-cleaning bags) as fine arts media using fiber related techniques in environmental sculptural pieces.

The purpose for this study was to investigate the effect of painting and drawing when used as an integral part of sculptural form. The following questions are addressed in this study: 1. Does color increase or decrease the three-dimensionality of a form? 2. When used, is color an integral part of the sculptural form or a superficial decoration? 3. Can drawn line (on the sculpture's surface) be used to flatten or deny the sculptural form? 4. Can drawn line be useful in describing or enhancing sculptural forms?

There is a natural tendency for biological systems to change as their environments change. The fittest in the biological systems survive, adapt to their environment, and multiply while the weakest in the environment diminish. There have been attempts in computer science to model the processes of natural selection and survival which occur in biological systems in order to obtain more efficient and effective machine-learning algorithms. Genetic algorithms are the result of these attempts.

For the problem in lieu of thesis, a series of ten works were created in which a male image replaced the female image; I continued to utilize the same materials, format, and centralized frontal figure. A record of the work was accomplished by maintaining a written and visual journal on progress and outcome. Some research was made into topics related to the work, and the findings from the literature comprise chapter two of the paper. In executing this body of work and researching related topics, I hoped to better understand my conscious and unconscious processes and motivations in creating both the self-portrait series and the new series.

It was impossible to document all of the important dancers of the era; however, certain individuals were notably exceptional. The purpose of this study was to document and illustrate some of those dancers who impacted and influenced the development of American vernacular dance during the early twentieth century through the mid-1940's. The individuals chosen were as follows: Dewey "Pigmeat" Markham, John Bubbles, Bill Robinson, Earl "Snakeships" Tucker, James Walker and Charles Green (Chuck and Chuckles), Katherine Dunham, Honi Coles and Cholly Akins (Coles and Akins) Josephine Baker, The Derry Brothers (Ananias, Jimmy and Warren), Eddie Rector, Willa Mae Ricker and Leon James. Emphasis was concentrated on capturing an accurate likeness of the individuals as well as on establishing a specific mood. Since all of the above-mentioned individuals were dancers, a special effort was made to recreate the lighting and aura of the stage.

The act of putting anything on a base isolates it and makes it seem more precious. The base separates the viewer from the sculpture and affects the relationship between the sculpture and viewer. The problem for me was to remove the base and experiment with the possibilities now opened to my work. The purpose of this study was to explore the presentation potentials of sculpture freed from the constraints of the plinth.

This problem tries to bring together a comprehensive array of themes. There has been a duality between painterly techniques, recognizable images and disjunctive imagery. The subtractive painting technique used has created smooth transitions between images and made these hybrid realities more convincing.

It was my intent to find objects that were both historically symbolic and symbolic of the times we live in, and that could be melded into a nineteenth century interior where their presence would be secondary to the overall atmosphere. I wanted to incorporate objects that would function as metaphors or personal symbols as well as historical icons.

The focus of my study is the utilization of fiber to create interpretations of animal skins that reflect the cycle of nature through varying degrees of multiplication and repetition of the fibers. In exploring this problem, I have addressed the following questions: 1. Which fibers work best for achieving these interpretations? 2. What problems were encountered in creating structural supports? 3. What are the effects of repeating fiber elements?

Through this study I intended to analyze and determine the significance of the recurring imagery that emerged as an integral part of my compositions. Furthermore, I attempted to discern the importance and over all the effects of the small scale upon my work and determine how vital is the spontaneity that is used to obtain each composition.

To emphasize the preciousness of these tools, I envisioned object-specific carrying cases, like a violin case or my grandmother's china cabinet. The object-specific case or cabinet is, like the tool it houses, special and singular inits utility and serves to underscore the ceremonial nature of the tool. Of all the examples of object-specific environments I've looked at, most have been constructed of fine woods; many have also been either covered or lined with various skins, silk, or velvet to reflect the preciousness of their contents.

This paper discusses the author's art works, which involved the integration of clay and steal to create sculptures of pipe forms similar to the machined forms they worked with in the agriculture and oil industries. Vicente García discusses the methodology of creation and analyzes the works.

I believe the frame or housing of a printed image plays an integral role in the context of the work. It functions as a vehicle for possible interpretation. It should respond to and complement the concept of the central image. The image presented in a vessel or reliquary format should instill a meditative or religious response.

This paper describes the artist's conception of their scientific knowledge and spiritual beliefs, and the juxtaposition of the two in a single awareness. Michael Muller discusses the use of printmaking, drawing, and photo mechanical processes to represent this awareness through visual imagery, and includes photographs of the works.

The emotional and psychological reaction to a chalice is determined in part by the visual impact of the vessel. The goal of this problem has been to explore the visual impact of contemporary techniques and traditional materials, combined with multi-cultural imagery on the perception of the vessel as a chalice.

This paper discusses the integration of imagery and form in the author's works, wheel thrown pottery intended to make an individualized statement. Steven L. Phillips discusses the process of making these forms and the imagery they contain, drawing connections to philosophical concepts.

Although clay has been used throughout history as an embellishment of architectural structures, clay elements have usually remained subordinate to existing architectural forms. Three-dimensional ceramic modules which divided an existing space, altered or obscured architectural forms, and intersected with or penetrated established planes provided a greater interaction between clay and architecture. I explored the use of clay as an integral three-dimensional element which interacted with an architectural space, rather than merely surfacing it. Because the installation of these works was temporary, methods of connecting the clay elements to the architecture were also investigated.

The purpose of this research was to develop a body of work which exhibited unity between form and surface, but which relied upon a combination of deliberate intent (specific form, glaze, firing temperature, etc.) and the occurrence of random accident to achieve this unity. The project dealt with the integration of altered wheel-thrown and hand-built organic clay forms with a variety of surface treatments. The firing/glazing techniques chosen (which included cone 9 reduction firing, raku firing, and saggar firing) could be controlled to some degree. However, even minor differences in glaze and/or firing treatments evolved through a variety of chance incidents into marked differences in the finished piece.

In this body of work I have attempted to unify those aspects of utilitarian pottery and sculptural ceramics which I value most. I intended to join the inherent interactive nature of pottery with the capacity of sculptural ceramics to convey content through a personal aesthetic. Through this exploration I have developed a stronger personal expression in clay.

This problem in lieu of thesis project looked at the style of a place setting as an exciting part of the meal. The study concluded that funware is achieved through a combination of color choice and a harmonious relationship of the dinnerware and the surface decorations.