Latest content added for UNT Digital Library Partner: UNT Librarieshttps://digital.library.unt.edu/explore/partners/UNT/browse/?sort=added_a&fq=str_degree_department:School+of+Visual+Arts&display=list2008-02-15T15:00:13-06:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT LibrariesThe Categorization and Use of Three Dimensional Computer Generated Special Effects in Film2007-09-24T22:19:29-05:00https://digital.library.unt.edu/ark:/67531/metadc2522/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2522/"><img alt="The Categorization and Use of Three Dimensional Computer Generated Special Effects in Film" title="The Categorization and Use of Three Dimensional Computer Generated Special Effects in Film" src="https://digital.library.unt.edu/ark:/67531/metadc2522/small/"/></a></p><p>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.</p>Rhetorical Drawings2007-09-24T23:53:05-05:00https://digital.library.unt.edu/ark:/67531/metadc2480/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2480/"><img alt="Rhetorical Drawings" title="Rhetorical Drawings" src="https://digital.library.unt.edu/ark:/67531/metadc2480/small/"/></a></p><p>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.</p>The Evolution of Form2007-09-24T23:53:29-05:00https://digital.library.unt.edu/ark:/67531/metadc2473/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2473/"><img alt="The Evolution of Form" title="The Evolution of Form" src="https://digital.library.unt.edu/ark:/67531/metadc2473/small/"/></a></p><p>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.</p>Dialogue: An Exhibition of Ceramic Sculpture2007-09-24T23:53:35-05:00https://digital.library.unt.edu/ark:/67531/metadc2470/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2470/"><img alt="Dialogue: An Exhibition of Ceramic Sculpture" title="Dialogue: An Exhibition of Ceramic Sculpture" src="https://digital.library.unt.edu/ark:/67531/metadc2470/small/"/></a></p><p>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.</p>"Documenting" East Texas: Spirit of Place in the Photography of Keith Carter2007-09-25T21:02:27-05:00https://digital.library.unt.edu/ark:/67531/metadc2625/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2625/"><img alt=""Documenting" East Texas: Spirit of Place in the Photography of Keith Carter" title=""Documenting" East Texas: Spirit of Place in the Photography of Keith Carter" src="https://digital.library.unt.edu/ark:/67531/metadc2625/small/"/></a></p><p>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.</p>Narrative Issues2007-09-25T21:03:27-05:00https://digital.library.unt.edu/ark:/67531/metadc2616/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2616/"><img alt="Narrative Issues" title="Narrative Issues" src="https://digital.library.unt.edu/ark:/67531/metadc2616/small/"/></a></p><p>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.</p>Reinterpreting Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things through the Seven Day Prayers of the Devotio Moderna2007-09-25T21:08:17-05:00https://digital.library.unt.edu/ark:/67531/metadc2573/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2573/"><img alt="Reinterpreting Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things through the Seven Day Prayers of the Devotio Moderna" title="Reinterpreting Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things through the Seven Day Prayers of the Devotio Moderna" src="https://digital.library.unt.edu/ark:/67531/metadc2573/small/"/></a></p><p>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.</p>The Nativity Panel of Isenheim Altarpiece and its Relationship to the Sermo Angelicus of St. Birgitta of Sweden2007-09-25T21:22:26-05:00https://digital.library.unt.edu/ark:/67531/metadc2702/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2702/"><img alt="The Nativity Panel of Isenheim Altarpiece and its Relationship to the Sermo Angelicus of St. Birgitta of Sweden" title="The Nativity Panel of Isenheim Altarpiece and its Relationship to the Sermo Angelicus of St. Birgitta of Sweden" src="https://digital.library.unt.edu/ark:/67531/metadc2702/small/"/></a></p><p>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.</p>A Stylistic Analysis of American Indian Portrait Photography in Oklahoma, 1869-19042007-09-25T21:27:15-05:00https://digital.library.unt.edu/ark:/67531/metadc2785/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2785/"><img alt="A Stylistic Analysis of American Indian Portrait Photography in Oklahoma, 1869-1904" title="A Stylistic Analysis of American Indian Portrait Photography in Oklahoma, 1869-1904" src="https://digital.library.unt.edu/ark:/67531/metadc2785/small/"/></a></p><p>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.</p>Signs and Cases2007-09-25T22:58:56-05:00https://digital.library.unt.edu/ark:/67531/metadc3023/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3023/"><img alt="Signs and Cases" title="Signs and Cases" src="https://digital.library.unt.edu/ark:/67531/metadc3023/small/"/></a></p><p>Abstract not available</p>A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation2007-09-26T01:53:59-05:00https://digital.library.unt.edu/ark:/67531/metadc3156/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3156/"><img alt="A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation" title="A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation" src="https://digital.library.unt.edu/ark:/67531/metadc3156/small/"/></a></p><p>Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";</p>Viewers' Choice2007-09-26T01:54:02-05:00https://digital.library.unt.edu/ark:/67531/metadc3154/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3154/"><img alt="Viewers' Choice" title="Viewers' Choice" src="https://digital.library.unt.edu/ark:/67531/metadc3154/small/"/></a></p><p>This paper documents the execution and exhibition of a group of oil paintings exploring themes of spectacle and the construction of reality in contemporary American society. The paintings are composed of figures and fragments of text originating in stills taken from television news and reality TV. This paper describes and assesses the paintings according to a set of questions developed by the artist at the inception of the project. Various strategies employed in the execution of the work are analyzed and compared. The contribution of this project to the field of contemporary visual art is evaluated via comparison with other art, past and present, expressing similar concerns.</p>Replacing the Horse2007-09-26T01:54:16-05:00https://digital.library.unt.edu/ark:/67531/metadc3149/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3149/"><img alt="Replacing the Horse" title="Replacing the Horse" src="https://digital.library.unt.edu/ark:/67531/metadc3149/small/"/></a></p><p>I have been working with horses as imagery for about seven years and my problem in lieu of thesis continued along this vein by researching the roles of the horse in history, specifically mobility, and developing work that creates visual links between the past and present roles of horses. I am a printmaker and the work involved in the project consists of prints that use layers of related images and juxtaposition of unrelated images to accomplish my goals of cohesion between horses and the machinery that has replaced them. As the project developed the links between past and present society became my impetus rather the horse and mobility, and my future work will respond to this.</p>Social Intercourse2007-09-26T01:54:39-05:00https://digital.library.unt.edu/ark:/67531/metadc3144/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3144/"><img alt="Social Intercourse" title="Social Intercourse" src="https://digital.library.unt.edu/ark:/67531/metadc3144/small/"/></a></p><p>This thesis explains the stories and concepts behind each piece that was discussed on the opening night of my MFA Exhibition. The works, entitled Film Noir, Brains, Trains, and Beer, The Boy Next Door, Peterbuilt, and 10-50, H-1, was discussed more specifically and in greater detail. Speaking in public has always been a difficult task, especially on the subject of my art. My images deal with the highly intense subject matter of violence inflicted onto others as a result of human social behaviors. These vile social behaviors are translated into colorful and humorous lithographs, etchings, and drawings. These images are displayed to the public for individual interpretation. This thesis discusses audience interpretation before the literal meaning is revealed, how much information should be revealed to the viewer, and how this information manipulates the aesthetics of the piece.</p>Distant Proximity: Mapping Presence and Absence2007-09-26T01:55:53-05:00https://digital.library.unt.edu/ark:/67531/metadc3126/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3126/"><img alt="Distant Proximity: Mapping Presence and Absence" title="Distant Proximity: Mapping Presence and Absence" src="https://digital.library.unt.edu/ark:/67531/metadc3126/small/"/></a></p><p>Chapter I presents my background as an artist born and raised in Romania, and describes my artwork in connection with my interests and experiences. Maps and traditional Romanian art are important sources of influence. The questions in the statement of problem deal with the way ideas, references to various elements, and installation impact the artwork.
Chapter II discusses the installation at the Dallas Visual Art Center, the creative process, and how the artwork addressed the questions in the statement of problem. Important points are: a step into three-dimensionality with the tall, freestanding pieces painted on both sides, the use of topographical contours in creating shapes, issues of form and content as expressed in the painted surfaces, and the interaction of the individual works in the installation.</p>Loss of Innocence2007-09-26T01:57:06-05:00https://digital.library.unt.edu/ark:/67531/metadc3114/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3114/"><img alt="Loss of Innocence" title="Loss of Innocence" src="https://digital.library.unt.edu/ark:/67531/metadc3114/small/"/></a></p><p>Loss of Innocence uses sculpture, two-dimensional imagery, and text to explore the moment when children lose their innocence or realize their mortality. In the introduction, I explain that there are many factors, such as age and personality, which determine how children will deal with traumatic events in their lives and the duration of time that must pass before they move past the event. Often, children will combine childhood fantasy with random facts to create their own satisfactory explanation of what has happened. In my problem in lieu of thesis, I discuss work that I created with these thoughts in mind. I explore how the sculpture, two-dimensional imagery, and text work together to convey the emotion of innocence lost.</p>Surfacing the Void2007-09-26T01:57:42-05:00https://digital.library.unt.edu/ark:/67531/metadc3105/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3105/"><img alt="Surfacing the Void" title="Surfacing the Void" src="https://digital.library.unt.edu/ark:/67531/metadc3105/small/"/></a></p><p>Surfacing the Void is an exploration of surface design in relationship to the topic of voids. For the purpose of this paper, two types of void were addressed: shelters and hulls. The theme behind the sculptural works dealt with negative spaces as an analogy for the voids in people's lives. The goal was to find a way for the surfaces to elicit an emotional response from the viewer that correlates to the impression of either shelter or hull. Keeping this in mind, each experiment was approached with how to best represent the meaning of void being manifested. Imagery was applied during different states of the clay: wet, dry, and fired. Methods of exploration included texturing, drawing, stenciling, stamping, incising, decoupage and covering the surfaces with textiles.</p>Issues of Interpersonal Bonds2007-09-26T02:07:10-05:00https://digital.library.unt.edu/ark:/67531/metadc3080/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3080/"><img alt="Issues of Interpersonal Bonds" title="Issues of Interpersonal Bonds" src="https://digital.library.unt.edu/ark:/67531/metadc3080/small/"/></a></p><p>In this work, sections of bodies are joined with sections of other people's bodies in order to form a new whole. Adding or subtracting relationships can many times be uncomfortable and strange, which I depict in my invented individuals based on the phases of family, such as birth, death, marriage, divorce, and the acquisition of new forms of family. This work questions issues of the family in terms of its definition, whether biologically or culturally constructed. I am creating hybrids by separating body parts from the whole and then recombining them to form a new individual. These images are a result of thinking about the possibilities and changes that people go through as a result of the new growth or loss of relationships. This work is intended to bring awareness to the way in which people relate and families become more blended.</p>Eye of the beholder: Children respond to beauty in art.2007-09-26T02:07:12-05:00https://digital.library.unt.edu/ark:/67531/metadc3081/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3081/"><img alt="Eye of the beholder: Children respond to beauty in art." title="Eye of the beholder: Children respond to beauty in art." src="https://digital.library.unt.edu/ark:/67531/metadc3081/small/"/></a></p><p>The purpose of this study was to determine if beauty was important to elementary age children when exploring and making aesthetic judgements about works of art and to determine the criteria elementary students used in judging beauty in works of art. This study also explored beauty as a concept that could be used as an organizing idea for designing a thematic unit with the purpose of introducing elementary students to postmodern art and issues. One hundred and sixty first grade and fourth grade students looked at 20 pairs of art reproductions and picked the artwork they considered the most beautiful. The criteria elementary students use for determining beauty in artworks was found to be color, realism, subject matter and physical appearance of the subject of the work of art.</p>Sequence without Uniformity2007-09-26T02:43:01-05:00https://digital.library.unt.edu/ark:/67531/metadc3193/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3193/"><img alt="Sequence without Uniformity" title="Sequence without Uniformity" src="https://digital.library.unt.edu/ark:/67531/metadc3193/small/"/></a></p><p>The inspiration for my undergraduate body of work is derived from my fascination with Henri Matisse, Jacob Lawrence, and the Impressionists. I suddenly became captivated with the Impressionist movement and the independence of abstraction. I set into motion a series of paintings and drawings featuring random African-Americans and African society representatives in vibrant color and abstracting forms, and was specifically concerned with altering the form outside of the realistic area. While in graduate school, I began to think about how the transformation from realism to abstraction combined with the conception of mortal to the immortal. I worked through ideas to see exactly where these views began, and where they would take me as an artist. Almost immediately I experimented with random figures found specifically in the N'debele culture in South Africa. In addition, I incorporated abstraction and expressive marks within the figure and slowly introduced cut paper, flat imagery and abstraction with the realistic figure. This became very challenging but I was determined to unite these ideas successfully. More recently, my work has concentrated on the essential elements that have influenced my work as an artist, which recedes to childhood. The main elements most prevalent within the work is rhythm and space. I learned to use the musical rhythm as an instinctive reference point, as well as exploring issues of space and solid areas of flat color, thus I strived to unite all areas together to create an integrated composition.</p>Rasa: Serenity, Valor, Love2007-09-26T02:56:21-05:00https://digital.library.unt.edu/ark:/67531/metadc3347/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3347/"><img alt="Rasa: Serenity, Valor, Love" title="Rasa: Serenity, Valor, Love" src="https://digital.library.unt.edu/ark:/67531/metadc3347/small/"/></a></p><p>The focus of this thesis is the conveyance of moods through clothes, the communication of feelings through fashion. The thesis illustrates how clothes speak, and the tools used to communicate a visual message. Three moods are used as examples: Serenity, Valor and Love. The thesis presents the author's design ability, creative personality, cultural background and technical skills. Sources of data range from personal experience to books on Cultural Studies, armor and mask making, Indian/ Asian dance and theatre, fabric design, fabric manipulation and websites on related topics. The chapters discuss background information of the author and the topic of research, and present each ensemble created to support the thesis. Through design details and photographs of the nine ensembles, the thesis demonstrates different techniques of achieving visual communication through clothes.</p>Imitating Nature2007-09-26T02:56:44-05:00https://digital.library.unt.edu/ark:/67531/metadc3340/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3340/"><img alt="Imitating Nature" title="Imitating Nature" src="https://digital.library.unt.edu/ark:/67531/metadc3340/small/"/></a></p><p>Through my art I seek to communicate the continuing cycle of change that unites all life forms. I had to find methods of presentation and surface that would enhance my sculptural statements that I had begun to address. Utilizing salt, wood and low temperature sagger firing, resulted in softer, more natural appearing surfaces. These surfaces complimented and completed the organic forms with which I was working. The problems encountered in presentation were rectified by alternately contrasting the surfaces of the presentation with the surfaces of the pieces, while utilizing forms that echoed the natural forms of the pieces. The opposite approach also worked well, using natural presentation materials to create a sense of unity, and geometric bases for contrast. These methods resulted in an increased sense of energy, unity and completion in the work presented.</p>The Exploration of Surface and Texture on the Inside and Outside of My Sculpture2007-09-26T02:56:46-05:00https://digital.library.unt.edu/ark:/67531/metadc3339/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3339/"><img alt="The Exploration of Surface and Texture on the Inside and Outside of My Sculpture" title="The Exploration of Surface and Texture on the Inside and Outside of My Sculpture" src="https://digital.library.unt.edu/ark:/67531/metadc3339/small/"/></a></p><p>After generating work for many years in an intuitive, “truth to materials” mindset my intent was to explore the interior possibilities of my sculptural forms and relate these if possible, to the exterior. Alongside this exploration of the interior I introduced surface texture and color onto both interior/exterior surfaces. In some cases the work had undergone a change, which lent new meaning and provided new relationships to exist between the interior/exterior of my sculpture. Not all of the work was satisfactory to me, though I feel there were many positive results from work that may not have been successful. I found that the integration of the interior/exterior dialogue into my existing work provided new meaning allowing new relationships within the work that had not existed previously.</p>Abstract Moments of Art Found in the Ordinary2007-09-26T02:56:59-05:00https://digital.library.unt.edu/ark:/67531/metadc3333/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3333/"><img alt="Abstract Moments of Art Found in the Ordinary" title="Abstract Moments of Art Found in the Ordinary" src="https://digital.library.unt.edu/ark:/67531/metadc3333/small/"/></a></p><p>This paper is an experiment using digital video to locate and identify the abstract in everyday life and nature. The abstract moment occurs when the image that is captured by video loses its connection with the original context, allowing the images to be viewed in an entirely new way. The abstract moment is initiated by a transformative instant, that instant in which perception is altered and the viewer sees the intended content of composition of light and sound. The project contains four digital videos that record the artist's progress and interests.</p>Preconceived Notions of Scale Relationships2007-09-26T02:57:04-05:00https://digital.library.unt.edu/ark:/67531/metadc3331/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3331/"><img alt="Preconceived Notions of Scale Relationships" title="Preconceived Notions of Scale Relationships" src="https://digital.library.unt.edu/ark:/67531/metadc3331/small/"/></a></p><p>I proposed in my paper to use juxtaposition of unexpected scale in my sculpture, with the expectation that it would create an unexpected tension that is visually stimulating to the viewer. I achieved this by creating disharmony in scale between an object that is perceived as miniature and an object that is perceived as gigantic within each sculpture. I then asked three questions of these sculptures: Was I able to alter the viewer's preconceived notions of the miniature and the gigantic through the manipulation of the size relationship between two objects within each sculpture? Which of these preconceived notions of the miniature or the gigantic became dominant as the main focal point in each sculpture? Did this intentional use of disharmony in scale stimulate enough of my interest to continue investigating this idea? I wrote about three sculptures that had been made for this project. The first was Manifest Destiny, a seven and a half foot tall bronze piece depicting an oil drill with a platform in the shape of the state of Texas. On the platform a gigantic bronze figure rides a miniature bronze donkey across the platform. The second bronze sculpture I wrote about was Gulliver in Suburbia; standing seven and a half feet it depicts a large bronze figure trapped within a miniature ship that stands on stilts. The last piece a wrote about was I've Outgrown This One House Town, a seven foot three inch tall bronze sculpture which depicts the frame of a house with a frame chair and bed inside. On top of the house a bronze figure sits on the roof as if it were riding a horse. I judged all three pieces to be successful and they answered all of the questions affirmatively.</p>Unity: When the Two Become One2007-09-26T02:57:37-05:00https://digital.library.unt.edu/ark:/67531/metadc3324/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3324/"><img alt="Unity: When the Two Become One" title="Unity: When the Two Become One" src="https://digital.library.unt.edu/ark:/67531/metadc3324/small/"/></a></p><p>Jewelry has been used as a gift exchange between lovers for many centuries. It has been conveyed in a variety of forms to symbolize the meaning of love. This body of work is associated with glory of love, of sexual experience between lovers representing the idea of unity when two parts become one unit, not only in the physical sense, but also in the psychical sense. The works were divided into three series including three pair of rings, two pair of lockets, and five pair of necklaces. The erotic expression has been addressed on every piece in an abstract way counting design motifs, material used, and interaction within the piece itself. Moreover, each piece has romantic meanings and essential aspects as a symbol of love.</p>Striving for Amy: A Personal Aesthetic2007-09-26T02:58:05-05:00https://digital.library.unt.edu/ark:/67531/metadc3318/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3318/"><img alt="Striving for Amy: A Personal Aesthetic" title="Striving for Amy: A Personal Aesthetic" src="https://digital.library.unt.edu/ark:/67531/metadc3318/small/"/></a></p><p>The first chapter of this descriptive paper outlines a problem, proposes a solution and poses three questions for me to answer after completion of research. The problem was to bring an emerging ceramic style into all of my pieces rather than just the few I have mastered. The solution was to create three sets of new forms and make them repeatedly until they boasted the sought-after style. Chapter 2 chronicles the research of creating, morphing, detailing and finally mastering these new forms. Chapter 3 summarizes the experience and answers the three aforementioned questions: (1) What is my personal definition of a successful pot? (2) How does the undulating style affect the functionality of the pot? (3) How does the Campbell tartan glazing complement or detract from the pot's form?</p>An Examination of American Sideshow Banners as Folk Art, ca. 1920-19602007-09-26T03:00:00-05:00https://digital.library.unt.edu/ark:/67531/metadc3302/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3302/"><img alt="An Examination of American Sideshow Banners as Folk Art, ca. 1920-1960" title="An Examination of American Sideshow Banners as Folk Art, ca. 1920-1960" src="https://digital.library.unt.edu/ark:/67531/metadc3302/small/"/></a></p><p>This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American folk art painting methodologies, which fail to investigate banner painting style, format, and artistic training associated with banner work.</p>Eplucher Les Oignons (Peeling the Onions)2007-09-26T03:00:02-05:00https://digital.library.unt.edu/ark:/67531/metadc3301/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3301/"><img alt="Eplucher Les Oignons (Peeling the Onions)" title="Eplucher Les Oignons (Peeling the Onions)" src="https://digital.library.unt.edu/ark:/67531/metadc3301/small/"/></a></p><p>My creative intent is to connect with viewers at an emotional level. My chosen metaphor is “Peeling the Onion.” The implication of the metaphor is that understanding is achieved after one looks below the surface and views the underlying “layers.” The challenge is to find images that are personally interesting and also connect with the viewer. At times the creative process proceeds in linear manner and at other times it seems to take on a life of its own. During my search for a balance between the literal and ambiguous, I explored the circle, the spiral and the sphere. Printmaking offers unique opportunities to produce evocative imagery. Drawing is the basic tool I employ to define form and my use of printmaking processes allows for evolving the image over time. The immediacy and spontaneity of my drawings is combined with a methodical approach to image development. Exploring the spiral, sphere, circles and the metaphor “Peeling the Onion” has provided me a means of giving a form to my concepts and hopefully a connection with the viewer.</p>Discovering the Parameters of a Successful Piece: While Developing a Body of Work that Represents My Passion for Clay and My Enthusiasm for Life2007-09-26T03:20:16-05:00https://digital.library.unt.edu/ark:/67531/metadc3279/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3279/"><img alt="Discovering the Parameters of a Successful Piece: While Developing a Body of Work that Represents My Passion for Clay and My Enthusiasm for Life" title="Discovering the Parameters of a Successful Piece: While Developing a Body of Work that Represents My Passion for Clay and My Enthusiasm for Life" src="https://digital.library.unt.edu/ark:/67531/metadc3279/small/"/></a></p><p>Chapter I describes the purpose of the project, which was to develop a body of work that exhibits all that I am at this point in time. The questions I presented to myself were the following:
1. A successful piece is defined by what parameters?
2. What visual qualities indicate my passion for clay and my enthusiasm for life?
Chapter II lists and explains the five parameters of a successful piece, which are composition, firing, mark making, color contrast, and movement. Furthermore there is an explanation on how these parameters visually display my passion for clay and my enthusiasm for life.
Chapter III is a summary concluding that by discovering my five parameters of a successful piece I now understand the elements that I am searching for in my work. My work will grow from this understanding as long as I have the same passion for clay and enthusiasm for life.</p>Nature By Design2007-09-26T03:20:17-05:00https://digital.library.unt.edu/ark:/67531/metadc3278/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3278/"><img alt="Nature By Design" title="Nature By Design" src="https://digital.library.unt.edu/ark:/67531/metadc3278/small/"/></a></p><p>Organic forms representing nature, but not particular species, are combined with elements signifying attitudes toward the natural world with an emphasis on North American culture. The viewer is encouraged to consider human effects on the environment. Aquarium Night Light and Trophy both refer to the human tendency for commercial exploitation coupled with the creation of nature images we sometimes seem to prefer over the reality of the natural world. Reliquary metaphorically connects traditional religious connotations associated with saints' relics to both a biblical injunction to use anything we needed from the natural world and our contemporary belief that exposure to nature can have beneficial effects on human mental, spiritual, and physical health.</p>An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course2008-01-14T23:07:20-06:00https://digital.library.unt.edu/ark:/67531/metadc4005/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4005/"><img alt="An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course" title="An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course" src="https://digital.library.unt.edu/ark:/67531/metadc4005/small/"/></a></p><p>This qualitative case study research examined how constructivist problem-based learning facilitated higher level thinking, increased interest in art, and affected attitude toward on-line courses in an undergraduate philosophical aesthetics and interpretation of art criticism course. The research conducted for this study suggests that constructivist problem-based learning does facilitate higher level thinking and increases student interest in art and in on-line classes. Active learning assignments, along with the constructivist collaborative class atmosphere, encouraged students to think more deeply about their personal values concerning art and to consider alternative views. Problem-based learning in this class acted as a scaffold to aid in understanding the material and then in applying the material to unique and real-life situations. Each subject came to the course with certain thinking skills and left with increased knowledge about art but also with increased critical thinking skills for critically examining and discussing art. Participants completed the course with more confidence in their critical thinking ability and in dealing with visual art images. Data was gathered from seven study participants in the form of highly-structured interviews, an early and final critical writing analysis, a major problem assignment and its reflection journal, a beginning survey, and two final surveys. The final major problem involved an individual proposal followed by a collaborative group proposal. Group collaboration constituted the most frustration and problem within the constructivist design of the class. This research took a relativistic viewpoint in gathering data and interpreting meaning.</p>Two Annunciations: Examples of interpellation or offers of reception? a comparative analysis of pictures by Roger van der Weyden and René Magritte.2008-01-14T23:18:10-06:00https://digital.library.unt.edu/ark:/67531/metadc3912/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc3912/"><img alt="Two Annunciations: Examples of interpellation or offers of reception? a comparative analysis of pictures by Roger van der Weyden and René Magritte." title="Two Annunciations: Examples of interpellation or offers of reception? a comparative analysis of pictures by Roger van der Weyden and René Magritte." src="https://digital.library.unt.edu/ark:/67531/metadc3912/small/"/></a></p><p>This thesis uses reception theory, as formulated by the late Wolfgang Iser, as well as ideas about interpellation or hailing, to compare and analyze two paintings: The Annunciation (c. 1435) by Roger van der Weyden and Personal Values (1952) by René Magritte. It demonstrates that interpellation and reception are part of the same process, and that reception theory is especially suited to this comparison and analysis-because it allows consideration of ways in which the comparable pictorial structures of both paintings facilitate their intentions. It argues that those intentions are to engage viewers in a dialogue that ultimately is beneficial to both pictures and viewers. Furthermore, based on this shared intent, and on visible structural similarities, it argues that each of the two paintings identifies and receives the other as a picture of the same image-that is, of the Annunciation.</p>Masking Meaning2008-02-15T14:30:15-06:00https://digital.library.unt.edu/ark:/67531/metadc4241/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4241/"><img alt="Masking Meaning" title="Masking Meaning" src="https://digital.library.unt.edu/ark:/67531/metadc4241/small/"/></a></p><p>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.</p>The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message2008-02-15T14:31:09-06:00https://digital.library.unt.edu/ark:/67531/metadc4225/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4225/"><img alt="The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message" title="The Creation of Modern Fashions through the Merging of Eastern and Western culture: Spring Message" src="https://digital.library.unt.edu/ark:/67531/metadc4225/small/"/></a></p><p>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.</p>Voyeurism and Fetishism2008-02-15T14:31:12-06:00https://digital.library.unt.edu/ark:/67531/metadc4224/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4224/"><img alt="Voyeurism and Fetishism" title="Voyeurism and Fetishism" src="https://digital.library.unt.edu/ark:/67531/metadc4224/small/"/></a></p><p>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.</p>Industrial Landscapes: Humanity Coexisting with Nature2008-02-15T14:31:18-06:00https://digital.library.unt.edu/ark:/67531/metadc4221/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4221/"><img alt="Industrial Landscapes: Humanity Coexisting with Nature" title="Industrial Landscapes: Humanity Coexisting with Nature" src="https://digital.library.unt.edu/ark:/67531/metadc4221/small/"/></a></p><p>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.</p>Pop Baroque2008-02-15T14:31:46-06:00https://digital.library.unt.edu/ark:/67531/metadc4216/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4216/"><img alt="Pop Baroque" title="Pop Baroque" src="https://digital.library.unt.edu/ark:/67531/metadc4216/small/"/></a></p><p>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.</p>Woven Music2008-02-15T14:32:51-06:00https://digital.library.unt.edu/ark:/67531/metadc4208/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4208/"><img alt="Woven Music" title="Woven Music" src="https://digital.library.unt.edu/ark:/67531/metadc4208/small/"/></a></p><p>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.</p>Memento2008-02-15T14:33:28-06:00https://digital.library.unt.edu/ark:/67531/metadc4203/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4203/"><img alt="Memento" title="Memento" src="https://digital.library.unt.edu/ark:/67531/metadc4203/small/"/></a></p><p>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.</p>Experiencing the view.2008-02-15T14:33:54-06:00https://digital.library.unt.edu/ark:/67531/metadc4197/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4197/"><img alt="Experiencing the view." title="Experiencing the view." src="https://digital.library.unt.edu/ark:/67531/metadc4197/small/"/></a></p><p>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.</p>Reaching for Understanding: Exploring the Potential of Four-Year-Old Children to Understand Works of Art2008-02-15T14:35:19-06:00https://digital.library.unt.edu/ark:/67531/metadc4176/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4176/"><img alt="Reaching for Understanding: Exploring the Potential of Four-Year-Old Children to Understand Works of Art" title="Reaching for Understanding: Exploring the Potential of Four-Year-Old Children to Understand Works of Art" src="https://digital.library.unt.edu/ark:/67531/metadc4176/small/"/></a></p><p>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.</p>Technology, Ontology, and Pop2008-02-15T14:35:23-06:00https://digital.library.unt.edu/ark:/67531/metadc4144/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4144/"><img alt="Technology, Ontology, and Pop" title="Technology, Ontology, and Pop" src="https://digital.library.unt.edu/ark:/67531/metadc4144/small/"/></a></p><p>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.</p>Tangible Struggle2008-02-15T14:35:33-06:00https://digital.library.unt.edu/ark:/67531/metadc4167/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4167/"><img alt="Tangible Struggle" title="Tangible Struggle" src="https://digital.library.unt.edu/ark:/67531/metadc4167/small/"/></a></p><p>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.</p>Organic Revelations2008-02-15T14:44:04-06:00https://digital.library.unt.edu/ark:/67531/metadc4153/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4153/"><img alt="Organic Revelations" title="Organic Revelations" src="https://digital.library.unt.edu/ark:/67531/metadc4153/small/"/></a></p><p>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.</p>The Stitch as Art Object2008-02-15T14:52:59-06:00https://digital.library.unt.edu/ark:/67531/metadc4289/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4289/"><img alt="The Stitch as Art Object" title="The Stitch as Art Object" src="https://digital.library.unt.edu/ark:/67531/metadc4289/small/"/></a></p><p>Chapter 1 discusses how the concept of the stitch as art object evolved. The question in the statement of problems concerned the use of design principles on the stitch and the perception of the stitch by the viewer. Chapter 2 discusses the various processes involved in creating the works to answer the proposed questions, and discusses the use of literalism in the concept of the works. Chapter 3 discusses what was learned from the experience.</p>The Transformation of Materials and Representation of the Idea of the Baby Doll2008-02-15T14:53:07-06:00https://digital.library.unt.edu/ark:/67531/metadc4284/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4284/"><img alt="The Transformation of Materials and Representation of the Idea of the Baby Doll" title="The Transformation of Materials and Representation of the Idea of the Baby Doll" src="https://digital.library.unt.edu/ark:/67531/metadc4284/small/"/></a></p><p>I want to find a balance within the juxtaposition of representational imagery, patterned fabric, stain and found objects, which effectively communicates the ideas of my work, yet still provides a visually interesting object/painting. How do my materials relate to the content and/or meaning of the work? How will focusing on a single subject affect the development and visual content of my painting? How will I choose representational images to use in relation to the aims of my subject? I was struck by the connections between the baby doll and the real baby. The baby doll became a representation of an idealized body. My interest in baby doll source materials evolved through several different stages, beginning with drawings of baby dolls, then actual doll parts, and finally to imagery of babies with genetic defects. Formally, the work was able to progress as the idea or content progressed.</p>Origami in Fashion2008-02-15T14:53:38-06:00https://digital.library.unt.edu/ark:/67531/metadc4277/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4277/"><img alt="Origami in Fashion" title="Origami in Fashion" src="https://digital.library.unt.edu/ark:/67531/metadc4277/small/"/></a></p><p>The focus of my work is the incorporation of three-dimensional sculptural forms into the design of my garments while still maintaining the functional purpose of the garment. Origami paper folding is the inspiration for the sculptural forms. The major endeavor was to explore and solve the relationship between the organic human forms and the geometric forms created by the origami paper folds. This presented a challenge of exact precision. During this process, I experimented with different fabrics, which can accommodate the sharp creases and retain the shape. A variety of folding patterns were also explored. Although the design should be innovative and creative, the final garment must be wearable and comfortable.</p>Theoretical Study Using the Sense of Touch in Interior Design for Senior Living Environments2008-02-15T14:55:33-06:00https://digital.library.unt.edu/ark:/67531/metadc4260/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4260/"><img alt="Theoretical Study Using the Sense of Touch in Interior Design for Senior Living Environments" title="Theoretical Study Using the Sense of Touch in Interior Design for Senior Living Environments" src="https://digital.library.unt.edu/ark:/67531/metadc4260/small/"/></a></p><p>Through my work, I explored the application of texture and materials as a means to identify specific functions. I show how texture and material selections that specifically engage the sense of touch can aid in effective environments for the elderly. By means of this study, I demonstrated how the sensory perception of the elderly is utilized in designing productive environments for the senior population in regards to the sense of touch. The interior design of senior living environments can greatly enhance the retirement experience for the elderly population. With the information I have gained through my research and work will reflect in my future design projects. I also wish to share this enlightenment with others in my field of study.</p>Poetic Products2008-02-15T15:00:13-06:00https://digital.library.unt.edu/ark:/67531/metadc4418/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc4418/"><img alt="Poetic Products" title="Poetic Products" src="https://digital.library.unt.edu/ark:/67531/metadc4418/small/"/></a></p><p>Not many artists have made a successful connection between art and text. In this installation of four works of art, I have given a new perspective on commerce by combining my poetry with common products. The content of my work is based on experiences I have had throughout my life. I believe that I have successfully combined my poems and art into cohesive works that break through the conventional understanding of products and their packaging.</p>