In this art-based study I will examine the construction of identity creating three life size figures utilizing metaphor and symbolism. I recorded and analyzed the process through reflections. The artist/teacher/researcher will provide conclusions based on art production and self-reflection.

This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.

Perception greatly affects the way we experience and understand the world. Using self-reflective research processes and data collection, I explore how art can subjectively re-present data and what this means for research and knowledge. The artworks through which I discuss these notions are Self Checkout 2013, Bibliography of Virtual Consciousness: Uniform Resource Locator Volumes 1-12 (BOVC:URL 1-12), and Observation Box. Self Checkout 2013 is composed of all of my receipts from 2013. They not only record my transactions, but also re-present data from which one can make inferences regarding my life—my consumer identity, my needs, my desires, etc. BOVC:URL 1-12 re-presents my web history and suggests a reflection on the relationships between physical realities, virtual realities, and the consciousness that mediates experience between them. These forms of data are analyzed by me and through audience participation in Observation Box in an attempt to construct multi-perspectival knowledges from art.

In this art-based study I will examine the construction of identity creating three life size figures utilizing metaphor and symbolism. I recorded and analyzed the process through reflections. The artist/teacher/researcher will provide conclusions based on art production and self-reflection.

Over the past two decades a body of scholarship on the Global South has begun to present new ways to conceptualize African cities and their spatio-temporal specificity. Despite this, the city of Addis Ababa in Ethiopia is moving towards the reestablishment of its faded glory through means of aspatial modernization. The city’s aspirations for distinction and visibility can be seen as responses to the variable scales of contemporary urban systems. As ‘place’ is arguably no longer a singular concept, cities are rooted in relational networks rather than in ‘place’ alone. ‘Locality’ thus extends beyond the physical site to include linkages with a network of places around the world. Using an art-based research methodology, this research contributes to the discourse of urban development in the Global South generally, and Addis Ababa specifically. Findings are juxtaposed through documentation that includes theoretical essays, reportage, survey-informed graphics, interviews, and excerpts from a short film series and an existing plan for the Megenegna area. Potentials and challenges of place-based conceptions of urbanism are discussed, linking to the legacy of the 1960s mechanical and social paradigms. The insitutional role of UN-Habitat in the global collective supports is discussed for potential to supports existing resources and demographics for improved mobility and accessibility.

This thesis presents the results of research which investigated how creative processes in advertising agencies are organized and the role aesthetic understandings play therein. Indepth accounts describing how creative processes in advertising agencies are organized were not well characterized in the extant literature. This was surprising, given the confusion that existed about whether or not advertising practitioners share similar tastes. Whereas some research suggests highly homogenous taste patterns, other research, reporting about severe conflicts in advertising agencies, suggests that the contrary is true. Consequently, also research on taste-making processes and thus the ways through which tastes and collective action are negotiated was missing. This research aims to address these gaps in the literature by providing an in-depth account of the way specific practices creative processes are organized by analysing how practices and tastes interlink as well as by providing insights into the ways through which taste and collective action are sustained at advertising agencies. To do so, qualitative research at a leading London-based advertising agency was carried out over a period of five months. Two sets of practices by which the advertising creative processes were organized were identified. In addition, four types of tensions between both sets of practices and thus different tastes among advertising practitioners, depending on the practices in which they were immersed, were found. Moreover, ways in which tensions were resolved and thus how different tastes were negotiated were identified. By doing so, this research closes the above gaps in the literature and reveals that at advertising agencies' creative processes and taste-making go hand in hand. Finally, practical insights for managers in the advertising industries, aiming to foster collective engagement, collaboration and conversations, and creative expression in creative advertising processes as well as suggestions for future research are offered.

The purpose of this dissertation is to enact and poetically story the nonlinear emergence of an a/r/tographic practice called gathering—a situated art practice of storying, doing, and making as researching and thinking—in multiple contexts, including early childhood teacher education and imperial and settler colonialism in Canada. Over two years, I sustained a ritual of gathering where I (re)read texts (e.g., Indigenous theories, Chicana feminisms, antiracist theories, postcolonial theories, and subaltern theories) and (re)walked the neighbourhood of my apartment on the stolen territories of the Lkwungen people, who are one of the Coast Salish peoples, on southern Vancouver Island, British Columbia. While I walked and as I read, I attended to how other artists, animals, and I gathered objects and ideas, the effects of the environment and weather, and the theoretical orientations and contexts of the ideas and objects. The poetic stories in this dissertation entangle bits of the ideas and objects I gathered during my walks and readings. I also story how my personal artistic process of gathering unfolded into teaching an inclusive practice course in the Early Childhood Care and Education Department at Capilano University. I and my class of preservice early childhood educators gathered on and around the Capilano campus, located on the traditional territories of Coast Salish peoples, including the Tsleil-Watuth, Skwxwú7mesh, shíshálh, Lil’Wat, and Musqueam Nations. With this a/r/tographic research, I offer a pedagogical and aesthetic way with which to attune to the process, conditions, and situations of engaging multiple theories. I inquire into different ways of relating with and taking responsibility for others and into what kinds of partial, incomplete, and imperfect regenerations, possibilities, and futures present themselves through gathering within a context of imperial and settler colonialism in Canada. / Graduate

This dissertation explores the philosophical and aesthetic continuities and changes of the shanshui genre and the ongoing relevance of Chinese philosophy, in particular Daoism, within a subfield of modern and contemporary Chinese art. This dissertation has been created in dialogue with these traditions. Reflections on how this research has impacted my own art practise is intertwined with the historical and analytical discussion. This multi-threaded, multi-disciplinary dissertation has been written as a form of dialectical discourse which employs both analytical and personal writing. As such it combines elements of visual art-making as both artistic expression and research process; art historical research and analysis; and, ongoing self-reflections around both practices. In addition to the analysis of the art of a selection of contemporary Chinese artists, my art-based research led to the creation and discussion of a series of artworks, including the core painting series and exhibition titled, For a Moment, Silence in 2016. My research led me to the conclusion that shanshui is much more than a traditional visual form in Chinese art history for it offers a unique modality of thinking, perceiving and engaging. This, in turn, is based on a fundamental and dynamic perception of the interrelatedness of all things in the world, a perception which is embedded in a classical Chinese worldview. I demonstrate from various angles that by connecting the personal with the art historical, as well as with a philosophical and a pragmatic understanding of traditional Chinese philosophy, the experience of shanshui can be internalized through contemporary art practice as a method of reflective and experiential learning. / Graduate / 2022-11-07

This paper examines the impact of learning a new medium on artistic expression and creativity. By investigating art made during the learning process of ceramic art, I clarify the influence of initial learning stages in an art medium and their influence on creative thinking and motivation. I use two qualitative research strategies, a narrative analysis of the emotional and technical changes I experienced using clay and ceramic materials, and an examination of the art produced during this process. Data is collected through journal entries and photographs of art as I progress. This paper combines previous research in art education and history, and art therapy, as I address our ability to learn aesthetic and visual skills and our motivation to produce during times of frustration. Learning a new medium provides strategies for stepping away from our own expectations of our art, examining the art we create for what it is and what we can learn from it rather than what we believe it should have been.

The aim of this thesis is to highlight the relevance of the spiritual dimension of Islamic calligraphy, focusing on the Turkish contemporary calligraphic tradition. Academic literature in the field has been dominated by the tendency to focus on the objects produced by artists, neglecting their personal experience and understanding of the art. Using a phenomenological perspective, I give voice to calligraphers I met in Istanbul and Konya, letting emerge their views on issues related to the relationship between art, religion and spirituality. I explore several themes that have arisen from the interviews I conducted with fifteen exponents of the contemporary tradition, organised as a journey from the most material aspects to the most abstract ones. The exploration of these themes starts with the symbolism hidden behind physical calligraphic tools, moving to the analysis of the symbolism of the point and the letters, elementary forms of the calligraphic creations. The bodily dimension has been taken into consideration, showing how the control of the body is an essential aspect of the calligraphic practice. The art can be conceived as a pathway requiring the development of several moral qualities and virtues, all necessary to improve both the artistic capabilities and the spiritual maturity of the practitioner, until the achievement of the authorisation to teach the art. Once a calligrapher reaches the license and the mastery of the art, they bear the responsibility of transmitting the art to others. Furthermore, they become agents of remembrance, portraying in the most beautiful manners the verses of the Quran in social religious spaces, as in mosques, or on calligraphic panels acquired by individual collectors or museums. Since their artwork focuses on representing religious materials, including the remembrance of the attributes of God and of Prophet Muhammad, their art is considered an act of worship. Finally, I investigate what the meaning of Divine Beauty is in Islamic calligraphy, presenting the perspectives of Turkish calligraphers and analysing the connections between the artistic form and the meaning of the contents of specific calligraphic works. In conclusion, I have not limited my analysis to the formal aspects of the art, rather I have highlighted the existential dimension of a complex practice which connects together several aspects of the human being, including the spiritual dimension. Thus, the traditional stream of Turkish contemporary calligraphy can be seen as a full manifestation of a culture, a lifestyle and a religion.