I often think of life as a tight rope stretching across an expanse. Our inner strength enables us to walk forward across it. When this fails us, we fall. But in those moments when we prevail, we soar and float as though weightless and timeless. As a gymnast I learned that control of one's insecurities results in a powerful and balanced presence of body. Give into them and the body becomes uncertain and clumsy. Rarely is life this transparent. Many forms of tension manifest themselves in physical, spiritual, and emotional unrest. How does the physical contour of the skin reflect the soul of a material body? Through the use of tension and balance, and with the aid of transparency, translucency, and opacity I alter the perception of surface, form, internal and external space. My work is a comment on the flux of my emotions and attitude towards daily life.

This thesis explores the development of an interdisciplinary design incubator and community business center in Richmond, Virginia through the adaptive reuse of a retired, historic school building. In contrast to the deteriorating conditions of Patrick Henry School, renewed growth abounds in its extraordinary site surroundings—the 105 acres of Forest Hill Park, which serves as the virtual backyard of the school building. This dualism provided a prime opportunity for discovering the design possibilities in connecting a built space to its physical surroundings and for giving meaningful new life to an abandoned space.

Investigations into Social Game Theory is a document that describes my two-year exploration of the ritual encapsulated in our societal framework. It discusses the thoughts and processes that accompanied the three bodies of work that led to the creation of my final thesis exhibition.

A MAGAZINE – A game of Chutes and Ladders – a network of pools connected by streams, rivulets, creeks and rivers. Concerns: aluminum, sculpture, film, an endless image or an image-object, cork, shoulders as the center of movement, archery, wicker, nystagmus, darkness or the penumbral near-darkness, constant movement, beer, tone, musical forms, bells, gongs, The Titanic, purple, black and white, indeterminacy, Ghostface, yodeling, John Smith, John Adams, David Hammons, Beyoncé, Honda CR-V’s, Har-khebi, Ahnighito, Hermann Doomer, Prince, Yvonne Rainer, perception, double rainbows, composers from Transylvania, Los Angeles, and chandeliers. “Everything is everything.” and “A woman is the first teacher.”

This thesis explores the evolution of Alessandra Torres's work, from her early performances and installations, to her latest work with surrogate bodies, as she challenges the relationship between artist and their creation, body and object, and audience and art. Examining the work of artists such as Cindy Sherman, Rebecca Horn and Marina Abramovic, Torres explores the transformative capabilities of interactive sculpture and live performance. Join Ms. Torres as she transforms herself into everything from a paintbrush to a serpent, in her ongoing exploration of the body's ability to adapt and evolve.

By altering the outward appearance of the gallery walls, I address the hidden inner temperaments and characteristics of these seemingly benign facades. Architectural rubble impacts with the gallery space in imagined collisions, exposing and distorting its hidden inner workings and structures. Sometimes my walls grow so fat that they need immediate and temporary structural solutions. They may even slump over in a pathetic heap under their own perceived mass.Using everyday wall building materials like 2x4s and drywall, or even harvesting the material directly from the gallery, I anthropomorphize the surface of the space. Rather than the architecture receding into the background in the service of art, the gallery walls break free of the architecture and become the art

Adaptive reuse of historic buildings is often a good way to make use of empty unutilized spaces that are architecturally valuable to function as desirable and pleasing environments. The inherited architectural features, large amounts of craftsmanship in the details that usually accompany these older spaces are the appealing traits, which make them exclusive. The design idea of faculty housing in an early twenty’s century Baptist church currently used as the Virginia Commonwealth University Music Center represent an alternative option to it’s existing use. The faculty housing idea in this thesis, as a second adaptive reuse option does not try to resolve any existing problem with the current use, but is introducing an alternative way of design using old and new. To help with the progress of this thesis the following question was explored How is the integration of historic and new create a new entity?

Societal structure has changed through the decades to reflect a contemporary interest in youth culture. The nuclear family, where generations lived under one roof no longer exists, leaving the elderly on the periphery of the family structure. Where once grandparents, parents and children all cohabitated, now the oldest family members are relegated to solitary retirement and aging alone. Studies have shown that "depression in the elderly is more likely to lead to suicide. Elderlywhite men are at greatest risk, with suicide rates in people ages 80 to 84 more than twice that of the general population. The National Institute of Mental Health considers depression in people age 65 and older to be a major public health problem." (http://www.healthyplace.com/communities/depression/elderly.asp)Providing social activity for seniors can increase their well being and by extension their physicalhealth. The Grace Street Senior Center was designed to accommodate a variety of social activities for the center's members as well as house the center's administration. The member areas range in function from the public, for example, a multi-function area for dance and aerobic classes to the private such as the reading area and music room. All the spaces within the scope of this project are designed with the comfort and well being of the users paramount.

A discussion of the important aspects informing my work, including, ideology, and feminism among other issues.

My work speaks to the processes of adaptation and assimilation, phenomena that explain the way in which we transform life experience and incorporate the effects of such experience into the daily workings of our psyche. To this extent my work is a self-analysis, an autobiographical reckoning, a non-verbal representation of collective experiences rendered in forms upon which images are spontaneously drawn or painted with fiber. The process of making art as a means of accessing creative instincts is a manifestation of the way in which I experience life. Adapting and assimilating to our human condition is an art, a form of survival that allows for self-expression as a technique of understanding, a way of translating beauty into collective consciousness, a means of transforming atrocity too enormous for words, an offer of conversation that transcends human reason, a sharing of imagination that embraces the past, the present and the future. As the world grows increasingly complex, our very existence is threatened by terrorist attacks, natural disasters, and socioeconomic confusion. A culture driven by consumerism responds to global competition for technology that races against the speed of light. Human misunderstanding is relegated to war, courts of law and bi-partisan politics. Adapting and assimilating life circumstances and experiences with a sensitivity to the interplay of intensely colorful fiber in my hands affects an optimistic and energetic reinterpretation of life's complexity. In a time of uncertainty, art is a reason for hope.