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Imitating Nature

Description: 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.
Date: December 2002
Creator: Holden, Linda K.
Partner: UNT Libraries

Preconceived Notions of Scale Relationships

Description: 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.
Date: December 2002
Creator: McClung, Jeffrey Bruce
Partner: UNT Libraries

Abstract Moments of Art Found in the Ordinary

Description: 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.
Date: December 2002
Creator: Kraft, Stuart
Partner: UNT Libraries

Poetic Products

Description: 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.
Date: December 2003
Creator: Henry, Benny
Partner: UNT Libraries

Experiencing the view.

Description: 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.
Date: May 2003
Creator: Madsen, Michael J.
Partner: UNT Libraries

Theoretical Study Using the Sense of Touch in Interior Design for Senior Living Environments

Description: 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.
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Date: August 2003
Creator: Kile, Mia
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De-Emphasize Direct Presence

Description: The following paper reveals some aspects of my thoughts about art. The works discussed are featured in my M.F.A. exhibition. All works are mainly based on the ideas of absence, self-reference and utilization in art practice, even though each piece approaches the subject from differing angles. My dissatisfaction with preconceived notions in the contemporary art, rooted in art history, has shifted my focus from concerns of the direct, physical presence of artworks to the indirect or indecisive elements of their context. From this position I have felt free to explore the paradox of self-reference that is involved in performance. In addition, by transferring art works to functional objects, I have found a way to infuse everyday life with my art, and vice-versa. The ambiguity of interpreting artworks with language means that I present this paper with photographic documentation of my artwork. Combined, this will give a clear indication of the thrust of my graduate studies and the current theatrical direction of my art.
Date: August 2004
Creator: Chen, Xinpeng
Partner: UNT Libraries

Organic Revelations

Description: 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.
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Date: May 2003
Creator: Jones, Paul David
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A Personal Expression

Description: The problem involves developing a method that leaves conventional form and form making and moves toward a spontaneous and intuitive approach. The thesis is organized into 3 chapters. The first chapter includes an introduction, statement of the problem and methodology. The second chapter describes the work in eight movements. The third chapter answers questions posed by the problem and includes a summary and conclusion. The findings are that a spontaneous, impulsive, and intuitive approach to the medium, clay, is a productive and artistic method. The medium is responsive and telling of the method and art is produced.
Date: May 2004
Creator: Veatch, Nancy Carole Steveson
Partner: UNT Libraries

The Unreadable Word

Description: This autobiographical problem in lieu of thesis explores the subject matter of the sculpture, revolving around the issues of dyslexia and literacy, and builds upon the idea of metaphor and its function in relationship to the sculpture. The four visual and conceptual elements that are emphasized are: (a) the juxtaposition and arrangement of elements and materials; (b) inability to open the books; (c) alteration of the text to make the words illegible, by creating words that are fuzzy or transparent; and (d) repetition and scale. Also discussed are ideas of post modern criticism with an emphasis on semiotics and writing of Derada in relationship to his contemporary analysis of his sculpture.
Date: May 2004
Creator: McGehearty, Eric
Partner: UNT Libraries

Loss of Innocence

Description: 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.
Date: May 2002
Creator: Smith, Jennifer J.
Partner: UNT Libraries

Striving for Amy: A Personal Aesthetic

Description: 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?
Date: December 2002
Creator: Reynolds, Amy Lauren
Partner: UNT Libraries

Issues of Interpersonal Bonds

Description: 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.
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Date: May 2002
Creator: Morin, Tesa B.
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Gestural Expressions in Clay

Description: The nature of clay's physical attributes and the application of these characteristics to an expression of gestural movement in utilitarian ceramics.
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Date: August 2001
Creator: Neergaard, Nancy Dart
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Redefining Beauty

Description: In an effort to continue the conceptual and aesthetic growth started in graduate school, I have produced a body of work dealing with the relation between the fragmentation of the figure and the self-perception of beauty. I produced twelve prints that have been exhibited at Cora Stafford Gallery. I have analyzed the body of work conceptually and formally and chose to discuss six pieces in a problem- in lieu-of-thesis. My work and book references informed the content of the paper. I divided it into three chapters; Introduction, Description of the Work, and the Conclusion. Within the body of the paper the paragraphs are sectioned into descriptions, methodology and intent of the six pieces. I went into detail of the process and content and addressed the questions posted in the Statement of Problem.
Date: May 2002
Creator: Perrin, Elvia
Partner: UNT Libraries

Process, Form, and Function

Description: Process and form have always been important to my work. I emphasize the soft qualities of clay while working with traditional forms that are altered for visual interest. Usability is very important, the forms have to function well according to their intended use. The relationship between form and manipulation relied on usability of the form. Functionality was paramount within this body of work. I consciously searched for balance between form and manipulation, form and glaze, form and function, and overall character. Though altered, the forms were traditional and dependent on function. Manipulations of the forms, surface treatment, and deep colorful glazes contributed to creating harmony between function and expression. Personal stylistic elements became refined through working on this project. The body of work that was made allocated personal expression and new variations on functional forms. This project provided an opportunity for exploration and evaluation of form and my working process.
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Date: August 2001
Creator: Platt, Allyson
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Ceramics Without Clay: An Exploration into Potential

Description: Investigating the behavior, function and appearance of ceramic materials has proven an enduring point of interest throughout my education. In learning about the vast range of the earth-yielded materials and their physical manifestations in states ranging from wet to dry to fired, I have found myself excited and challenged to seek out ways to expand their presentation. My attention has been repeatedly drawn to the class of ceramic materials that frequently get classified as “glaze ingredients.” Understanding the structural and visual qualities of these minerals and compounds was an interest whether I was making tableware, tiles, or sculpture. For the purposes of this paper, I propose to deal expressly with the physical art-making considerations of material and process as they relate to my work in ceramics. By directing my focus as such, I hope to center my work on a concern that became evident to the art world upon the display of Marcel Duchamp’s Fountain: material equals content.
Date: May 2001
Creator: Hart, Christopher David
Partner: UNT Libraries

Formal Concerns in Conceptual Sculpture

Description: The problem I choose dealt with a new material to use in conceptual art. Since the nature of my work deals with ribbed sculptural forms that explore conceptual abstractions of recorded observations, I investigated a new material called composites. A composite is defined as two or more materials that are combined to share the best qualities of both. Laminated foam core, nylon fabric weave, vinyl, and resin composites may introduce an aesthetic and structural advantage to traditional material such as wood and metal. Innovations in laminated composites and methods of joining unfamiliar materials could offer an advantage for these new sculptures. A series of six ribbed sculptural forms were constructed, which consist of laminated composite material relating to personal observations expressed in my journal in the last quarter of the year 2000. The material was introduced in the desire for a cohesive formal relationship between the concepts and the forms. Patron, 2001 Mixed Media, 19"x 8"x 4"; PDQ, 2001 Mixed Media, 10"x 8"x 2"; PDQ2, 2001 Mixed Media, 21"x27"x3"; Bishop, 2001 Mixed Media, 23"x11"x5"; Coaster, 2001 Mixed Media, 14"x12"x9" and Putsch, 2001 Mixed Media, 69"x48"x24".
Date: May 2001
Creator: Stromberg, Matthew Gray
Partner: UNT Libraries

The Evolution of Form

Description: 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.
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Date: May 2000
Creator: Dotter, David D.
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Question of Honor

Description: My thesis, Question of Honor, addresses the premise of women's lack of choice in relation to men's honor, and vengeance; concepts that are closely connected to the oppressive world of women in Pakistan. These works deal with concepts of purity and minor transgressions that have an impact on the lives of women in relation to family names and the associative feelings of humiliation linked to men. The subtle nuances of women and their reactions to oppression give a strong emotive content to the work.
Date: May 2004
Creator: Agha, Anila Quayyum
Partner: UNT Libraries

Exploration of Sculpture

Description: 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.
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Date: December 1999
Creator: Coldewey, Charles
Partner: UNT Libraries

Prototypes: Hand Masters Machine

Description: I investigated several problems I have found concerning contemporary jewelry design. These problems are linked to the industrialization of jewelry making. The industrialization of jewelry making led to the preference of using less precious metal, of using Prong, Crown, and Channel stone-settings, and of using high polished mirror finish for surface treatment. My work addressed the prominence of metal in jewelry design and alternate forms and techniques of stone-setting and surface treatment.
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Date: May 2001
Creator: Milton, Robert L.
Partner: UNT Libraries