Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaf 18).

Theses (M.F.A.)--Rochester Institute of Technology, 1990. / Includes bibliographical references (leaf 23).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 33).

Although there are a few general surveys of early Islamic metalwork, and numerous detailed studies of particular objects or object groups, no comprehensive study of the metalworking industry in Iran in early Islamic times has yet been written. This thesis aims to provide that study first by assembling as much as possible of the basic information on metalworking in Iran from the Islamic conquests to the mid 13th century and then by using it to draw some general conclusions about the range and history of Iran's metalworking industries at this time. The primary sources used are the references to metals and metalworking in early Islamic literature and the surviving objects. For technical information and for select vocabularies of the relevant Arabic and Persian terminologies the technical treatises of al-Hamdānī, al-Birūnī, Naṣīr al-Dīn Ṭūsī, and Abū'l-Qāsim al-Kāshānī have been particularly exploited. For the names and functions of particular objects or object groups a range of Arabic non-technical works has been searched. For the gazetteers and general discussions of metal sources Arabic and Persian geographical works have been utilised. The objects catalogued and discussed here include all the published pieces known to the author, together with unpublished objects in the British Museum, the Victoria and Albert Museum, the Ashmolean Museum (including Sirāf excavation material), the Musée du Louvre in Paris (including Susa excavation material), the Museum für Islamische Kunst Berlin-Dahlem, the StaatlicheMuseum in East Berlin, the Museum für Kunst und Gewerbe in Hamburg, the Philadelphia University Museum (including the Rayy excavation material), the Walters Art Gallery, the Freer Gallery of Art, the Metropolitan Museum of Art (including the Nīshāpūr excavation material), and the Boston Museum of Fine Arts. All objects have been arranged in groups on the basis of metal, function, and form, and catalogued accordingly, and an overall dating and provenancing for each group has been established through reference to their decoration, including inscriptions where relevant, and archaeological data. Additional use has been made of analyses undertaken by the Metropolitan Museum of Art, the British Museum, the Musee du Louvre, and the Ashmolean Museum, plus a limited number of other published analyses: all these are included in a single Table.

This project focused on the integration of metal and book forms. Each piece addressed infertility and how this condition affects a couple, both physically and socially. The seven projects are connected through content interest and metal-smithing skills. The techniques used include: casting, sheet construction, enameling, hinge construction, resin insets, xerography and silver etching with Image-On. In additional to the metal-based artworks, this creative project also includes six large-scale photographs to illuminate the experiences of infertile individuals and couples. Three contemporary techniques - de-enameling, Image-On transfers, and Xerography - were used for the creation of Based on a True Story. This was the first usage of Image-On transfers and de-enameling during a creative project at Ball State University. / Department of Art

<p> The purpose of this project was to develop a program, explore potential funding sources, and complete a grant application to secure funding for an expressive arts showcase for clients at Homeboy Industries who have a criminal and gang-affiliated past, and are now attempting to re-integrate in their communities. Narrative therapy, Cognitive Behavioral Therapy, art therapy, and mindfulness may significantly ameliorate the conditions faced by this population, as well as the overall well-being of the community through a showcase of expressive arts composed and performed by the clients of Homeboy Industries. A search for potential funding sources led to The Goldhirsh Foundation as the most appropriate source for this grant. A grant proposal was written describing an expressive arts program for Homeboy Industries that will ultimately result in a showcase for community consumption. Actual submission and/or funding of the grant were not required for the successful completion of this project. </p>

This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry. / Department of Art

The primary objective of this creative project was to develop an understanding of the relationship between objects of personal adornment and the spirituality of our contemporary culture. The secondary objective was to produce one-of-a-kind jewelry and table objects that invited the viewer to contemplate the unconscious or intuitive meaning of the pieces. These objects were intended to be reflective of the spirituality of our culture. This body of work employed traditional and non-traditional craft techniques. / Department of Art

The natural forces of earth, sea and sky provide a wealth of inspiration for the creation of jewelry and metalwork. This project involved the investigation of such natural forces as erosion, growth cycles, tides and wind currents, followed by the design and construction of a body of work based on what was observed.During the observation phase, the artist collected source material In the form of photographs, rough sketches, tracings and actual physical evidence o f the natural forces a t work. The designs were based on a synthesis of the impressions gathered, rather than on one particular source. Not only were the visual and tactile aspects of the forces considered important, but the artist's emotional responses to those forces played a role in the designs as well.A total of thirteen pieces of jewelry and three boxes were created. Chasing, repousse, inlay and reticulation were the metalworking techniques primarily used to render the natural imagery.An intensive study of chasing and repousse was undertaken, as these techniques were especially suited to illustrating the wide variety of form and texture present in nature, from graceful, sweeping cloud formations to heavily modeled rock surfaces. The inlay process proved to be an adaptable way of mounting irregularly shaped natural materials, particularly shells, in the jewelry and boxes. The swirling quality of reticulation effectively represented such textures as the ruffled fungal growths found in forests, or the rushing, foaming tides at the edge of a shoreline.By combining close observation of the effects of natural forces with appropriate metalworking techniques, an aesthetically striking and highly original collection of jewelry and metalwork was conceived and executed. / Department of Art

The primary objective of this creative project was to fully explore and analyze the centuries old technique of lost wax casting.The secondary objective was to produce a body of work combining my creative inspirations from nature and my African culture.This body of work employed a variety of traditional metalsmithing techniques combining raised/constructed hollow ware, in a variety of metals, with cast metal forms. / Department of Art