I draw on my natural interest in my family’s eclectic collections – both traditional and personal – to create poetic portraits composed of carefully made and arranged objects. The goal of my portraiture is not to convey physical likeness; superseding the imitation of appearance is psychological portrayal of the desires and disappointments of the sitter. Often, a fragmented sense of self is revealed – both in others and in myself – and I seek to depict the kaleidoscopic nature of individuals in their given situations. Possessing whimsical, playful elements as well as encounters with lack and longing, I create work to escape what in my life is unbearable as well as to finally embrace that which I cannot possibly escape.

Collective Cadence Stories that start at birth, end with death, and include everything in-between. A Medal of Honor recipient, A mistake. Morning coffee; a late night call. Whispered first names; an off-key chorus; deafening explosions; silence. One child playing; another lifeless. On the battlefield, concealment is a survival skill. Off that battlefield, transparency enables survival. Stories that shape the fabric of our experience The threads that bind us Through the telling of each, we are united as one. In the telling of the collective, We find our own. These are our stories. This is our story.

I see the moment of creation as a threshold, a fertile ground where anything is possible. My work combines an interest in science, mythology, cosmologies, and a childlike sense of wonderment to seek the unknowable. I create formless floating worlds that have a seducing, enlightening, and ultimately deceiving presence. Vibrant lusty clusters of candied opulence emphasize the wetness at the beginning of life. Dry folds give way to woozy nests and frenzied organisms while dripping crystalline structures puncture soft unknowable terrains. Through the process of making I indulge my desire to create an otherworld, one that bubbles, garishly drips, and slips slowly into lavish amalgamations. By combining artificial and organic materials with the rich traditions of metalsmithing, I am able to explore the infinity of tiny connections that make up the complex whole of the natural world. I make as a result of my own curiosity, drawing and building an imaginary world, from one layer to the next.

My work explores the complex social geography of modern society and the intricate relationship between mankind and the environment. Through this work I explore the past and present lineage of manifest destiny, from its beginnings in Europe to western expansion in America, to forms it has takes in contemporary America. These ceramic forms serve as the conceptual grounds to explore the romanticizing of the western landscape especially from an individual and group perspective. I simultaneously celebrate the history of the pastoral life while questioning the authenticity, and motivations of that lifestyle, and use this platform as a jumping off point to ask questions about humanities complicated relationship with nature. Through hand-labor, contemplative making, and a reverence for tradition, I explore both interrelated and divergent human perceptions using clay as my primary medium.

“Truth happens only by establishing itself in the strife and the free space opened up by truth itself. Because truth is the opposition of clearing and concealing, there belongs to it what is here called establishing.”[i]—Martin Heidegger All things contain their own individual existence. When I look at objects I notice material, tradition, individual history. These are starting points for my imagination to seed and germinate. My ideas are fragmented, nonlinear and nonsensical to others but they hold honesty to me. Honesty is powerful and is worth sharing. This document is an examination of my work during my graduate studies. I will explain the importance of my relationship with: the imagination, jokes, materials, traditions and process as these are constant variables of my art practice. [i] Martin Heidegger, “The Origin of the Works of Art” in Tanke, Joseph J., and Colin McQuillan. The Bloomsbury Anthology of Aesthetics. 394. New York: Bloomsbury Publishing Plc, 2012

Abstract Vi upplever det intressant att hantverksbryggerier inte tydligt förmedlar sina tankar bakom produkten. Kan det bero på att de inte reflekterar över hur eller till vad produkten ska konsumeras? Funderingen ligger till grund för uppsatsens syfte som är att försöka utröna hur ägare och bryggare vid olika hantverksbryggerier tänker kring sina produkter, vad de har för utgångpunkt och i vilket sammanhang de tänker att produkterna ska konsumeras. För att ta reda på hur bryggarna tänker och reflekterar kring sina produkter har fyra semistrukturerade intervjuer utförts på fyra olika hantverksbryggerier. Genom en tematisk analys har resultatet sammanställts, där teman som belyser bryggarnas tankar lyfts ut. Resultatet visar att det finns liknande tendenser i hur de olika hantverksbryggerierna tänker om sina produkter. Men att den största skillnaden finns i hur de tänker kring sammanhanget produkten ska konsumeras.

How form translates as it moves between the physical and the digital has caught my interest. I collect data through different types of 3d scanning exploring a range of technologies. In the digital realm, the information captured presents itself as a messy abstraction to the original where some information is added while other is lost. Developing the material, I adopt complex content aware auto fill algorithms - a strategy that becomes essential for the project.  In my installation visitors can explore thresholds between the real and the virtual. My firm belief is that the traces from the physical and digital wear and tear add value in that they unpack my process, birthing something strange while familiar. / Hur form översätts när den rör sig mellan det fysiska och det digitala har fångat mitt intresse. Jag samlar in data genom olika typer av 3d-skanning och utforskar en rad olika tekniker. I det digitala rummet redovisas den dokumenterade datan som en rörig abstraktion till sitt original, där viss information adderas medan annan förloras. Jag antar i min designprocess komplexa content aware auto fill-algoritmer - en strategi som blir central för projektet. I min installation bjuds besökare att utforska möten mellan det verkliga och det virtuella. Det är min övertygelse att spåren från det fysiska och det digitala slitaget adderar mervärden genom att de packar upp min process samtidigt som något märkligt men bekant materialiseras.

A renda de bilros é uma tipologia da renda que utiliza bilros (pequenos fusos onde se enrolam os fios) para a sua produção; de tradição secular, aportou no Brasil por meio das mulheres portuguesas. O Estado do Ceará tornou-se um importante centro da tradição, sendo citado em diversas publicações, tornando a renda de bilros conhecida como renda do Ceará em outras localidades brasileiras. Os conceitos acerca do artesanato e do design foram debatidos a fim de analisar a técnica de rendar com bilros e seu uso. Também foi analisada a trajetória que a tradição percorreu desde a primeira publicação a respeito do tema: de 1948 até o ano de 2013, com o propósito de compreender as mudanças ocorridas na mesma. Foram descritos os utensílios utilizados na fabricação da renda de bilros, bem como sua técnica e pontos. Um breve relato acerca de como a técnica tem se desenvolvido em Morros da Mariana (PI) e Florianópolis foram realizados a fim de validar outras formas de manejo da tradição / Bobbin lace is a type of lace craft which utilizes bobbins (small spindles around which the threads are wound) in its production, it is a secular tradition which was brought to Brazil by Portuguese women. The state of Ceara became an important hub of this tradition, being cited in various publications and as a result bobbin lace came to be known as Ceara lace in other places throughout Brazil. The concepts surrounding the craft and the design have been discussed in order to analyse the bobbin lace technique and its use. Also, trajectory of bobbin lace was assessed, since the first publication regarding the subject: from 1948 until 2013, with the objective of understanding the changes that took place in the craft. The tools which are used in the fabrication of bobbin lace were described, as well as the technique and points. Brief reports were written about how the technique has developed in Morros da Mariana (PI) and Florianopolis, with the aim of validating other forms of the tradition

Thesis (Ocean E)--Massachusetts Institute of Technology, Dept. of Ocean Engineering, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING. / Bibliography: leaves 177-179. / by Paul Edward Sullivan. / Ocean E

This thesis examines the jewellery craft in Scotland between 1780 and 1914 with a focus on the relationship between materials, making processes, and the social and cultural meanings of objects. While dominant narratives of craft in this period frame producers as the victims of industrialisation, this thesis considers Scotland’s jewellers as cultural actors who shaped their own worlds during a period of profound economic, social and cultural change. A material culture approach is employed to examine the work of Scotland’s jewellers through the things they made. Fusing object-based research with a wide range of visual and textual sources, the thesis shows how producers applied their skill, knowledge and creativity to manipulate raw matter into meaningful objects that not only reflected, but brought about wider social and cultural shifts. Through a focus on materiality, the thesis builds on new methodological approaches to the history of material culture to show how the mutable meanings of matter and workmanship impacted on the ways in which jewellery was produced, consumed, worn and perceived. Scotland provides a rich area of focus for this study. The country has a long history of quality craft production in jewellery and silverware, with the geological and natural diversity of the region providing jewellers with precious metals, coloured stones and freshwater pearls. The study examines industry dynamics, artisanal education and making processes to show how jewellers fashioned an image of their craft that was rooted in ideas of history, inherited skill and quality. The life cycle of native materials is traced from their raw state through the workshop and on to owners’ bodies to reveal how changes in workshop production were inseparable from shifting aesthetics and cultural ideas relating to nature, landscape and the past. These findings complicate the persistent myth of the decline of craft as a result of industrialisation to show that the desire for Scottish-made jewellery stimulated new and revived skills and trades that cut across urban and rural areas. While the thesis is geographically specific to Scotland, it places luxury producers within the interdisciplinary domain of cultural history to provide new insights into the study of the multifaceted transformations that marked British industry during the long-nineteenth century.