Dissertations / Theses: 'Fine Arts (incl. Sculpture and Painting)'

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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly. By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation. This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.

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Trevelyan, Peter Ross. "Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/867.

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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

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McGrath, Shane Michael. "Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1311.

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At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.

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Tudor, RG. "Looking out: an investigation of the visitor's experience of natural environment." Thesis, Bec Tudor, 2005. https://eprints.utas.edu.au/1982/1/Masters_of_Art%2C_Design_%26_Env_Research_Paper_-_Bec_Tudor.pdf.

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A practical, aesthetic and philosophical examination of lookouts as found in Australian National Parks. Investigates the impact of landscape (as refering to both the actual phenomena and cultural product) on environmental values and human relationship with place. Explores the unique relationship between visitors and environments conserved for their 'wilderness' value. Discusses the management of lookouts and the mediation and potential manipulation of visual perception in the design of these facilities. Suggests lookouts subjegate immediate physical 'site' to celebrate a distant 'scene' granted greater environmental value on the basis of aesthetic principles of beauty, the sublime and the photogenic.

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Baker, Charles. "An Exhibition of Painting, Sculpture and Video." Thesis, Waterloo, Ont. : University of Waterloo [Dept. of Fine Arts], 1997. http://etd.uwaterloo.ca/etd/cbaker1997.pdf.

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Thesis (M.F.A.)-University of Waterloo, 1997.
Includes bibliographical references (p. 65). Issued also in PDF format and available via the World Wide Web. Requires Internet connectivity, World Wide Web browser, and Adobe Acrobat Reader.

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Summanen, Grace. "Dimension." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310497356.

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Little, Alicia E. "Fragments are formless, as they do not hold together(things that are not touching)." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523452860384935.

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Masters, David Michael II. "What Lies Within or Beneath." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385040239.

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Collier, Jenniffer C. "Architectonic Gestures: Shadow Structures." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1257803279.

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Schmidt, Daniel. "White Gilt." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/742.

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White Gilt This exhibition is a dissection of American masculinity and institutional oppression. The systematic mistreatment of people within certain social identity groups is supported and perpetuated by society. My work is a personal investigation of this flawed system, my place therein and its ramifications. The fragility of masculinity provokes immeasurable violence. Whiteness can be stereotyped as a toggle switch between bland culture, and self-entitled bigotry. These works are a confrontation with the dark parts of the human psyche, and the fears surrounding vulnerability, power and sexuality. Through discomfort we can deepen empathy and cultivate progress. Daniel Schmidt

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Burdine, Michelle Marie. "Burdine's Law of Intersecting Forces." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555579147996953.

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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.

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This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.

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Bump, Rickey P. "Meta-forms." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3056.

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The artist discusses his Master of Fine Arts exhibition, Meta-forms, held at the Tipton Gallery in downtown Johnson City. Exhibition dates are from March 14 through March 25, 2016. The artworks on display are a series of drawings made from carving wood panels and sheet metal and are accompanied with a large scaled site-specific installation. The exhibition culminates from research of historic and contemporary figures for non-objective art. The author gives insight to the artistic process while creating his exhibition, as well as their personal connection with the artwork.

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Lehrmann, Erika R. "MOTIVE through Automotive Compassionately Criticizing the Desires of Car Culture." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2419.

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My artwork represents my admiration and criticisms of car culture I have gathered throughout my personal experiences beginning at a very early age. The work exists in the form of drawings, paintings, prints, collage and sculpture. This work is created through the elements of personal narrative, desires, obsessions, and questions surrounding car culture and its influences. My intention to refurbish the icons of this culture has involved creating work that is both obsessive and critical for personal exploration and understanding of past memories.

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Watson, Sarah B. "Simple Complexities." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4085.

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Artist Statement The organic patterns all around me are what intrigues and inspires my textile, glass, and painting compositions. I find beauty within the natural growth patterns of things both large and small. My work references the reverberated growth processes in living things from the macroscopic observation of a plant to the microscopic viewpoint of its cells. Like the beauty found within these organic configurations, my process begins with creating serendipitous marks with a reference to natural patterns. Then, I intuitively respond to what I see in front of me. As I work, I use repetitious lines and shapes and a vibrant, non-naturalistic color palette. My choices of colors are personally motivated, and the combinations and manipulations are intuitive. Pattern and color are both visual languages that affect individuals differently. While my use of both is in response to my own experiences, my works allow the viewer to respond and connect in their own way.

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Battersby, Jamie Thomas William. "The Door To Before Closes, and You Grieve That Too." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555517321452505.

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Pabotoy, Jeffery A. "Crescendo." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4094.

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Artist Statement I have always found comfort and warmth in my family. When I am not with them, I find myself clinging to the objects they leave behind as a substitute in their absence. As I began to re-create these objects through paintings and ceramics, I realized that I was creating symbolic portraits of my family. These portraits are tangible family moments preserved in pigment and clay. In recent years, my siblings were deployed to war and I began to represent them as various instruments. These instruments, both musical and tools of war, chronicle who they were and who they are now. Where I once presented guitars and violins, now I include rifles and bombs. In my painting process, I use subtle lighting techniques to reveal objects hidden in the shadows. What little light is present reveals a trigger on a rifle or a string on a violin. I want the viewer to consider firing a shot or striking a chord. My ceramic sculptures also take on both attributes of weaponry and music. I sculpt in porcelain and all the pieces are given the resonating chamber (f-holes) of a violin. Although the pieces resemble bombs and grenades, the hollow white porcelain contrasts the destructive purpose of a weapon to beautiful forms that may be capable of producing a tune. These pieces mirror how I see my siblings, as once beautiful souls that are now used as instruments of war.

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Wolf, Erin Irene. "A Thesis is Not a Diary and Other Myths." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1565810728861941.

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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /." Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.

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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.
Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.

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Reid, Lawrence. "DUNIDEDCUDIGUNADIE." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3746.

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The artist discusses his Master of Fine Arts exhibit, titled DUNIDEDCUDIGUNADIE. The exhibit is to be held at the Tipton Gallery in downtown Johnson City, TN, from April 2nd to April 10th, 2020. A live reception will be held the evening of April 3rd, featuring a performance with the work, titled Look at You! The following thesis explores the artist’s formative years – investigating how childhood experiences combine with artistic and theoretical influences to inform his art-making process.

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Murphy, Laura L. "The Aesthetics of Anxiety: Making in a Time of Environmental Collapse." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343065382.

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King, Taylor Z. "A Spectacle and Nothing Strange." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5905.

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Working through methods of abstraction and comedic mimicry I choreograph awkwardly balanced sculpture with objects of adornment as a means to defuse personal sensitivities surrounding my experiences of gender, desire, and home. The research that follows is concerned with the adjacent, the in between, above and underneath, because I feel that this kind of looking means that you are, to some degree, aware of what lies at the edges. Maybe this is what Gertrude Stein means to act as though there is no use in a center—because this concerns a way of relating, though there are many things in the room. ‘A spectacle and nothing strange’ is an arrangement of gestures, of made difference, of kinships, of orientations and possible futures, sustained tension, coded adornment, big dyke energy, shifts in hardness, leaning softness, much more than flowers, ...and in any case there is sweetness and some of that.

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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.

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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.

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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.

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Cochrane, Peter. "The Wild Beasts." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5917.

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The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.

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Baguley, M. "Partnership or Perish? A Study of Artistic Collaborations." Thesis, 2007. https://eprints.utas.edu.au/6174/1/Vol_1_of_PhD.pdf.

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Though collaboration has been evident throughout the History of art, the purpose of this study was to examine the process and structures of collaborative artistic practices that have re-emerged in the contemporary art world. In framing this research various factors which have impacted on the re-emergence of collaborative artistic practices – the role of the artist, the perception of art making, and societal and cultural influences were also considered. Three case studies were utilised for this research: the Parliament House Embroidery (1984 – 1988); the Victorian Tapestry Workshop (1976 - ); and the Partnership or Perish? exhibition (2006). The extensive documentation and archival resources available affected the choice of the first two case studies, with the third being chosen due to my curatorial role in the Partnership or Perish? exhibition. All of the case studies have been publicly acknowledged as being the result of a collaborative process. Each of the case studies provided insights into the process of collaboration and the characteristics necessary for a successful and sustainable artistic collaboration. The data gained through observation, interviews, and collation as well as QSR computer software analysis from the selected case studies, when coupled with information gained from current literature on artistic collaborative practices was utilised to formulate a model for collaboration. These findings were compared and contrasted to collaborative processes operating in various sectors such as the arts, technology, the community and education. The findings present an extensive list of factors and characteristics which are essential in initiating and maintaining a collaborative process, resulting in a recommended arts model for those wishing to engage in the collaborative process.

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Scott, MG. "Surface and tactility : new approaches to picturing the female body." Thesis, 2001. https://eprints.utas.edu.au/1078/1/Scott_M_whole_thesis.pdf.

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The project develops alternate forms of representation of the female body in the mediums of oil and digital print. Representations of the body are central to contemporary art practice. Yet there are cogent arguments coming from feminist cultural theory that, in general women's bodies, and particularly the nude, cannot be portrayed other than through forms of representation that expose them to the male gaze. This poses a significant problem for women artists wishing to employ imagery of the female body. The project has explored alternative ways of depicting the female body; ways, which disrupt ocular-centric forms of representation that privilege the spectator by posing the body as displayed object. The following observations provided the background for this project: within contemporary approaches to representing the female body there is a marked shift away from the figuration of the external body; its depiction occurs less frequently within two-dimensional media; and, its prepositions tend to be of a less subjective nature. The project has sought to redress these shortfalls by seeking to re-vision the female body in two-dimensional painting and print-media. It has investigated alternatives to the symbolic body, enshrined within conventional pictures of female nudes, through explorations into embodied subjectivity - the specificities of lived, female experiences. Pictorially these impressions are representational, but the tactile dimensions of imagery, suggested through material surface quality, evoke a palpable sensuality that disrupts stereotypical patterns of looking. The relationship between tactility and the sense of touch dissolves the psychological and physical distance between the viewer and the picture. Pictorially, the representational framework varied from fragmented and cropped imagery of the female torso to direct illusionistic representations of the whole body. The outcomes of the research project, in the form of digital prints produced within the final phase, were chosen for exhibition. Initial investigations required the plasticity of paint media to convey the materiality of the imagery but advances, within both digital image layering processes and printing techniques resulted in a shift towards digital prints as principal output. The exhibition is, however, inclusive of key works, both prints and paintings, illuminating major developmental points encountered in the course of the project. The written exegesis includes documentation of practical and conceptual inquiries, together with an exploration of the underlying themes of the project placed in context through discussion of both historical and contemporary art.

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(9783809), Lisa Brummel. "The development of an innovative glazing technique for the Raku Kiln." Thesis, 2020. https://figshare.com/articles/thesis/The_development_of_an_innovative_glazing_technique_for_the_Raku_Kiln/17009255.

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This practice-led research project focuses on the investigation of alternative surface application techniques for a ceramic substrate with the aim of developing a new method to adhere glaze to a ceramic body. My research question, ‘How can molten glaze be applied to ceramic substrates allowing successful fusing of materials?’ is investigated by integrating the ceramic raku process with methods from both metalsmithing and hot glass production. By melting glaze material within a crucible, then pouring onto a bisque ceramic body, glaze manipulation, while the glaze was still molten, was undertaken. By trialing and testing an easily replicated glazing technique, this research enabled experimentation with a new range of possible surface effects achievable in the raku kiln, thereby adding knowledge for the research community and providing further developmental avenues for the ceramic practitioner. To this date, no research had been published covering this aspect of glazing, yet this is an important area of research. As a result of developing this project, a range of unforeseen Occupational Health and Safety issues regarding conducting such research in ceramic studios, both commercial and private, has been investigated. This is discussed, along with the ramifications of this outcome for both academic and professional ceramic artists. The thesis consists of a creative component in the form of a body of creative work created during the project, and a related scholarly exegesis.

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Downey, Georgina. "Reading rooms : domesticity, identity and belonging in the paintings of Bessie Davidson, Margaret Preston and Stella Bowen in Paris and London 1910s - 1930s." 2004. http://arrow.unisa.edu.au:8081/1959.8/45746.

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This study explains how expatriate South Australian woman artists established both new lives and art careers in the modern metropoles of Paris and London in the early years of the twentieth century. It also argues that relocation to the modern metropole required new representational forms in their art practices. The interior view set in domestic, rather than public space was the particular form chosen by the women of this study to represent their experience of modern urban life.

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Bartley-Clements, Jo-Anne. "Expanding the imaginal space: an exploration of potential sites of imagination through repetition, play and the found object in contemporary art installation practice." 2006. http://arrow.unisa.edu.au:8081/1959.8/29581.

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This research project investigates factors contributing to what I consider to be an erosion within the contemporary culture of the imagination- crucial to the very concept of what it is to be human. It has been said that the 'civilising' of art within contemporary culture may have flogged the human imagination into retreat. If so what might be the best way for art to help us visualise more creative ways of living and being? This is the key question I have pursued in this research project, the main outcomes of which are a body of creative art works (presented for examination in the form of a site-specific installation, together with documentary archive of photographs and other interventions) and an exegesis which explores the critical context for these. In proposing site-specific installation art as a vital alternative to the over-commodification evident within much contemporary art, I also see repetition and play as being strategies with particular potential for encouraging active artist-participant dialogue on the subject of the poetico-ethical imagination- along lines suggested by thinkers such as Robert Kearney and Ken Wilbur. The artefacts and installations presented for examination are mostly devoid of textual explanation and commentary, with the aim of emphasising direct sensory experience. However, throughout the written component (exegesis) I have taken the creative liberty of including textual fragments and other visual elements as a means of suggesting that a form of disassociation, meandering or breakdown has occurred. The reader will also notice an absence of capitalisation in the titles of chapters (and certain works). In this I have sought to explore possibilities for undermining academic form through imaginative play.

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(9819905), Anita Milroy. "Epistêmê, technê and poïesis visualisations of evolution and extinction in Queensland flora." Thesis, 2017. https://figshare.com/articles/thesis/Epist_m_techn_and_po_esis_visualisations_of_evolution_and_extinction_in_Queensland_flora/13443053.

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Experimental intra-disciplinary praxis forms the basis of this research, specifically bridging the domains of art-science and utilising innovative imaging technologies. The research addresses the following questions: In what ways, if any, can the outcomes of a practice-based visual arts researcher significantly contribute to the development and communication of knowledges in scientific practice? And conversely: In what ways, if any, can scientific research practices significantly contribute to the development and communication of knowledges in artistic practice? Significance is measured through contributions to knowledge including, but not limited to, the development of: new concepts, methodologies, inventions and understandings. Over a period of four years, the researcher, a professional practising artist, documents and creates intra-actively with scientific practitioners in the fields of fine art, palaeontology and physics. This emergent inquiry results in outcomes significant to both art and science domains as it provides a critical examination of each discipline’s standard research practices and knowledge making paradigms. It subsequently proposes a paradigm shift, as a direct result of working collaboratively within disciplines and sparked by creative and innovative methods of knowledge production. In responding to the questions posed, the researcher applies a Bohrian philosophy of physics and this is strongly influenced by Karen Barad’s interpretation of it. Quantum theory provides a rich source for rethinking knowledge creation in both artistic and scientific domains. It also suggests the application of a diffractive, rather than reflective, methodology as the research investigates Bohr’s notion that we are a part of that nature we seek to understand. The art-science experimental procedures and outcomes are additionally theorised by integrating and supplementing them with ideas about agency, epistemology, ontology, and praxis from theorists such as Donna Haraway, Estelle Barrett, Barbara Bolt, Andrew Pickering and Bruno Latour. This thesis comprises visual and textual components inspired by the researcher’s scholarly engagement with the palaeobotanic type collection at the Queensland Museum. For the first time ever, the exhibited visual outcomes utilise and interpret type collection data using state-of-the-art imaging technologies from the Imaging and Medical Beamline (IMBL) at the Australian Synchrotron. The thesis exhibition, Aletheia, provides visualisations of seeds and fruits at a previously unseen evolutionary stage because the technique proposed by the researcher non-destructively reveals detailed internal morphologies and key taxonomic features of previously unclassifiable fossils. The significance of the research outcomes to date, for communicating in visually creative and innovative ways, to share new artistic and scientific knowledges across and through disciplines and the wider global community have already been recognised through the research being extended beyond the current candidature period. A competitive, collaborative proposal for future work, scanning at ANSTO’s advanced DINGO neutron beamline at the Lucas Heights facility has been accepted. This technology provides capability for neutron scanning, a complementary technique to the synchrotron x-ray radiation of the IMBL. It is anticipated that the ongoing work will continue to provide a platform for synergistic national and international intra-disciplinary research linkages. Documentation of the culminating exhibition, which was held in April 2016, together with evidence of other significant exhibitions, international collaborative artefactual outcomes, and published articles is presented for examination for the award of Doctor of Philosophy.

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Harvey, Amber. "On making the immeasurable measurable : a search for spirituality in painting practice : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1019.

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(6865856), Aijun Huang. "Gum: A Smart System for Seniors with Diabetes." Thesis, 2019.

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Diabetes is a prevalent disease nowadays, and it is a big challenge, especially for seniors. The biggest challenge for seniors with diabetes is that they need to prick their fingers to test their blood which is painful and horrible. Also, the current glucose meter does not make good use of the glucose data to help them better treat the diabetes. Also, seniors live alone and lag off behind the diabetes information & technology. Therefore, based on seniors’ characteristics, I want to employ new technologies, such as data visualization and AI technology, in the design to help them manage their diabetes more easily.

Through the literature review, I learned the disease information of diabetes, investigated the diabetes situation in the seniors’ group, and studied the seniors’ characteristics, which can make the designs more suitable for seniors. To better understand diabetic seniors’ conditions, needs and wishes, I took part in several diabetes events in Lafayette Indiana, volunteered in the retirement village and conducted a series of interviews in these two settings. By analyzing the peer products, daily self-measurement of my own sugar level and keeping diaries, I learned what do the similar products look like, got some inspiration from them and found problems in the current products. After drawing a bunch of sketches to explore the idea, HTA chart, wireframe, low-fidelity prototype and mockups were developed in the first design iteration. I came up with the smart product system, based on the seniors’ characteristics, combined with new technologies to help seniors with diabetes easily manage their diabetes. Then I conducted the usability testing with the prototype & physical models to refine my design. Finally, usability testing was conducted again to make sure my products provide a pleasant experience for seniors with diabetes. With this smart system, testing blood becomes a happy & relaxing experience and seniors can join the diabetes group to support each other. Moreover, Seniors with diabetes can get feedback and suggestions from the system.

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Sitchbury, Douglas. "Economies of Tragedy." 2010. http://hdl.handle.net/10179/1518.

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This project investigates the formulation of tragedy over time, its traits and its uses. Particular emphasis is placed on the way in which tragedy becomes symbolized and then used as a tool within Public Relations. Public Relations, as defined within this project, is the process of forming arbitrary associations between an object, narrative, person or idea and another object, narrative, person or idea. Various examples are examined and re-presented through the use of the traditional medium of oil paints to remove them from their original context and function.

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HOLMES, ALLEGRA. "BECOMING MOTHER: PHYSIOLOGICAL MOTHERING PRACTICES AS ART AND FEMINIST ACTIVISM." Thesis, 2017. http://hdl.handle.net/2123/18665.

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Dodd, James. "Dirty words: a study of urban text-based interventions." 2009. http://arrow.unisa.edu.au/vital/access/manager/Repository/unisa:38416.

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This research extends upon interpretations of the use of text as a visual component in contemporary studio based practices. It continues my ongoing research trajectory into the use of text in art and the development of a practice that heavily reflects, and is influenced by urban and suburban experiences.

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White, Patrick Valdimar. "Being local : a sense of place : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/702.

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Being Local; a sense of place - details a journey during which I explore the notion that one aspect of art is seen best as a local activity, with the artist exploring his/her sense of place. Reading of relevant texts, and research of the conceptual basis of the notion, resulted in written and visual works. The writing records selected aspects of my thinking, detailing arrivals and discoveries, the development of art objects. Ultimately the research suggests that a sense of place is unfinished business; an ongoing process, a constant part of any vernacular or local activity. ‘Place’ is a story to be told and retold, a relationship constantly being renewed. Specifically, the story told here is from my own past to arrival in the settlement of Gladstone where I live on a three acre farmlet. That farmlet is the particular site in which I have carried out work exploring my thesis during 2007. The idea that art works are intrinsically local, inherently determined by my relationship with the place where I work, is an important part of the story. The acting of creating, is one of many relationships entwined in stories without which there can be no place to have a sense of. Another is the sharing of food. I have combined both the making of objects, and the sharing of food, as relational activities expressing ‘know how’, an art project.

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Crowe, Vanessa. "The path of least resistance : decorative pattern as an analogue of dis/order in everyday life : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/853.

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Allowing decorative pattern to take flight is a theme that has preoccupied my art practice ever since becoming infected by Deleuze and Guattari’s writing, A Thousand Plateaus:Capitalism and Schizophrenia, while completing a Bachelor of Fine Arts, majoring in Textiles. It is evident as an underlying thread or feeling in my making processes and thinking. According to Deleuze and Guattari (1987), to think new thoughts involves ‘a wrenching of concepts away from their usual configurations, outside the systems in which they have a home and outside the structures of recognition that constrain thought to the already known’ (p276). In this project I have found myself continually challenged by the intent and consequences of ‘shaking things up’, as I believe this quote implies. A wrenching of concepts away from their usual configurations has come through drawing a comparison between the conceptual structure of decorative pattern and the orders and structures of everyday life. What has emerged is a synthesis of ideas which create a picture of the dis/order that is evident within decorative pattern and in everyday life. I have come to conclude that decorative pattern is passive aggressive. It occurs to me that I could have described decorative pattern in a more positive tone in terms of passive resistance. But, in my mind, this implies a heroic gesture of superseding dominant orders. In this project I consciously employ the term ‘passive aggressive’ as an analogy because it acknowledges human flaw as a pattern that is inherent in everyday life. It alludes to the actuality of a relation to order and subsequent disorder that is not heroic, but rather implies humanness and the everyday struggle. While my challenge has been to present a new way of thinking about decorative pattern, underlying this has been a questioning of the structures that define my practice itself. This is evident in the experimental works that I have produced. It has been an evolutionary process that has played out according to a rhythm of shattering and shoring up. I see the resolution of this exploration coming in two parts. One is as the sum of my experimental works and how these artworks inform each other and are read in relation to the text. The other comes through a final installation of work which employs the system for making that has subsequently evolved, moving according to ‘the path of least resistance’.

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Malcolm, Sabrina Barkley. "Informative ornament: ‘The machine’ : enhancing the communicative potential of colour : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design in Illustration at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1465.

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Accompanying workbook not available in digital format
Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

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Fazakerley, Ruth. "Negotiating public space : discourses of public art." 2008. http://arrow.unisa.edu.au:8081/1959.8/40582.

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This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing.
Thesis (PhD)--University of South Australia, 2008

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Cafcules, Stephanie. "Concrete Painting." Master's thesis, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6066.

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This thesis explores the evolution of my artwork with synthetic materials through influences of the Minimalist and Process Artists of the 1960's and 1970's, inspiration from natural forms, and my exploration of concrete painting. Each work reveals discoveries of different processes and materials, accelerating the creation of new works. It is my hope this thesis will inform viewers about the process and concepts that my work embodies.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer Track

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Benoit, Taylor F. "DISSONANT FORMS: LANDSCAPE, NATURE-LOVE, and ART." 2021. https://scholarworks.umass.edu/masters_theses_2/1036.

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As artists continue the long and storied lineage of Landscape, are there aesthetic responsibilities that come with representing the forces that afford you the capacity to do so? As we delineate spaces into places, endless interconnectivity into knowable “systems”, and living matter into thing based taxonomies, who do these delineations serve and with what intentions do we proceed? My studio art practice explores what it means to give form to our Former—the Former being that from which we came, the here and now, our explicit ecological reality, the stuff of what we call nature. In this way, the Former consists of all the powers at play that unthinkingly formed the vital life-forces that afford us our perceptive and creative capacities, and in doing so, precede us chronologically. The primary questions my creative practice posits are therefore: what does it mean to give form to our Former through creative applications? In doing so, is it appropriate to assume that we are returning the favor?

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Fanelli, Kathryn. "The Passing Show." 2021. https://scholarworks.umass.edu/masters_theses_2/1011.

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The Passing Show, examines the interface between contemplative practices and the destabilizing effect of the carnivalesque. A repurposed early 20th century merry-go- round is reconfigured as a conceptual vehicle for renewing our attention to removing hindrances. The site-specific installation, titled Vimoksha, is viewed through the lens of the radical imaginary, investigating notions of karmic inheritance through a heuristic approach to material processes, personal history, kinetics and sound.

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Dissertations / Theses on the topic 'Fine Arts (incl. Sculpture and Painting)'

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