Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.

Motivos azuis recorrentes na última fase (1912 a 1914) do poeta austríaco Georg Trakl são comentados à luz de influências românticas. As imagens azuis desta lírica revelam vertentes românticas como o tributo à noite, a remitização, o clima crespuscular e de obscurecimento progressivo a partir do final do século XIX. A atribuição inusitada de cores a seres do mundo empírico traduz um procedimento comum às vanguardas plásticas e líricas deste período. / This study comments the recurrent blue motifs in the latest phase of poet Georg Trakl according to romantic influences. In this poems blue images reveal typical axes of Romanticism as the tribute to the night, remythologization and the progressive darkeness at the turn of the century. The uncommon use of blue color had become a hallmark of pictorial and poetical avant-garde of the 20th century.

Motivos azuis recorrentes na última fase (1912 a 1914) do poeta austríaco Georg Trakl são comentados à luz de influências românticas. As imagens azuis desta lírica revelam vertentes românticas como o tributo à noite, a remitização, o clima crespuscular e de obscurecimento progressivo a partir do final do século XIX. A atribuição inusitada de cores a seres do mundo empírico traduz um procedimento comum às vanguardas plásticas e líricas deste período. / This study comments the recurrent blue motifs in the latest phase of poet Georg Trakl according to romantic influences. In this poems blue images reveal typical axes of Romanticism as the tribute to the night, remythologization and the progressive darkeness at the turn of the century. The uncommon use of blue color had become a hallmark of pictorial and poetical avant-garde of the 20th century.

This paper explores the effect of color on working memory performance. Interest in Baker-Miller pink surged with the finding by Schauss (1979) that it reduced aggression in aggravated detainees. However, research behind Baker-Miller pink has been influenced by biases and methodological errors. Its effects are likely overstated. Red and blue have also been studied for their effects on creativity, approach-avoidance conflict, detail-orientation, and most importantly, stress. Further research has been conducted on the effects of relaxation on cognition, with the conclusion that increased relaxation leads to improvements in working memory performance. This paper tests the effect of color on working memory performance. Accuracy on the n-back was compared across 4 colors: pink, red, blue, and black. No significant differences in accuracy were found in any of the color conditions, though the main effect of load was significant. Future research can increase the sample size and utilize a cognitive task that is inherently stressful.