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My interests lie in the intersection of the public and private, the corporate and personal, especially with regard to self-representation within cultural power structures. Utilizing video and web technologies, performance, and painting, I create imagined realms of fantasy, desire, obsession, and anxiety. Operating within, but not bound by, feminist discourse, my work explores the vehicles and effects by which both analog and digital technologies influence the relationship between the self and the object of desire (whether physical or virtual, interior or exterior to the body) and have produced both progressive and regressive offspring. By performing the role of both producer of cultural archetypes and the compulsive consumer of signs, m­y characters embody the representation(s) of their source but, through action and voice, invent a mutant surrogate who dictates its own agency.

Thesis (M.A.) - Carleton University, 2002. / Includes bibliographical references (p. 129-135). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 361-377). Available also in a digital version from Dissertation Abstracts.

Discussions about sexuality often entail examinations of ethics and acceptable behaviors. It is difficult to create an environment in which honest conversations about sexual mores are supported and discussed without judgment My aim in this thesis work is to explore such taboo sexual practices as dominant/submissive relationships without attempting to define its ethics or psychological indications, as well as document the progress of my artwork as I examine both my sexuality and that of the women of my generation. I have created a series of drawings and photo-collage constructions entitled Willing Participant, which visually explores sexual practices that have traditionally been deemed deviant or unacceptable. The research for this thesis includes an examination of my visual work preceding this series, a survey of the sexual attitudes of my peers and research in established Feminist theory. The result of this work is a springboard from which my artwork can progress? alongside my generations emergent and evolving sexuality.

This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.

Thesis (M.CA.-R.)--University of Wollongong, 2006. / Typescript. Includes bibliographical references: leaf 23-24.

Thesis (M.F.A.)--East Tennessee State University, 2003. / Vita. Includes bibliographical references (p. 57). Also available full text via Internet at the East Tennessee State University, Dept. of Art and Design web site as a .pdf file requiring Adobe Acrobat Reader software.

This thesis explores how the Art+Feminism Wikipedia Edit-a-thon event impacts the people who coordinate and participate in it. I review museum catalogs to determine institutional representation of women artists, and then examine the Edit-a-thon as a vernacular event on two levels: national and local. The founders have a shared vision of combating perceived barriers to participation in editing Wikipedia, but their larger goal is to address the biases in Wikipedia’s content. My interviews with organizers of the local Eugene, Oregon, edit-a-thon revealed that the network connections possible via the Internet platform of the event did not supersede the importance of face-to-face interaction and vernacular expression during the editing process. The results of my fieldwork found a clear ideological connection to the national event through the more localized satellite edit-a-thons. Both events pursue the consciousness-raising goal of information activism and the construction of a community that advocates for women’s visibility online.

Thesis (M.A.)--University of Alberta, 2010. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, History of Art, Design and Visual Culture, Dept. of Art and Design, University of Alberta. "Spring 2010." Title from pdf file main screen (viewed on April 27, 2010). Includes bibliographical references.