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Dissertations / Theses on the topic 'Fine arts studies (incl. sculpture and painting)'

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Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

(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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18

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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19

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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20

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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