The intention of this creative project is to explore the ideas of individuality and community through ceramic sculpture. The ultimate goal is to allow the viewers to draw their own conclusions about the suggested meaning, instead of forcing a direct reference. To achieve this, form, surface, texture, and grouping of individual pieces was utilized. Inspiration was drawn from the artworks of Barbara Hepworth, Michele Oka Doner, Yoonchung Kim, and from the multiple appendages of the sea anemone. The artworks were hand-built using high temperature clays that were fired in reduction, soda, and wood kilns. Plaster molds were used to maintain the identical forms, allowing the viewer to focus on textural variation. / Department of Art

The primary objective for this creative project is to develop a series of wheel-thrown and altered ceramic sculptures that reflect my intuitive formation process. Although the work was influenced by a wide variety of outside sources, much of the impetus was born of my personal reflections on the concept of physical touch. My actions during the creation process were governed by sensory information absorbed mostly through my hands on the clay, and enhanced by inherent properties of the material. These preliminary experiences eventually sparked a desire to share this discovery with the viewer in the same tactile way. I further wished to include observers in the exhibit in a more direct and physical way, offering participants opportunities to explore their own sense of touch and consider how they relate to the objects around them. This body of work is an in-depth study of my intuitive creative process, a model for exploring the relationships between process and materials, and a means of providing observers of visual art a chance to connect with a visual object in a tactile way. / Department of Art

This creative project was a study of combining large-scale ceramics and polymer resin (Brandname: Bondo) vessels. This project came out of an earlier experiment combining metals and resin, and therefore the interest in combining clay and resin was a natural transition for me, since ceramics was my major focus. I had a definite interest in the challenge of marrying two very different materials; clay and resin, and by using this combination I would make vessels that were visually successful and engaged the viewer.The technical basis for all of the ceramic elements of the vessels is wheel throwing. The molds made for the resin parts of the piece were wheel thrown as well. This project was very unique and there was little documented technical information for me to rely on other than personal experimentation and ceramic knowledge.The visual elements of clay with its opaqueness, and resin with its translucent qualities offered great visual contrast. The use of color contrast between warm and cool colors became an important element of the pieces.From an expressive standpoint, I feel the form of the vessels is viewed as solid and confrontational, yet very compelling. The smooth surfaces and the lush vibrant colors compel the viewer to examine the forms. The pieces are commanding in size and strength, so the viewer is somewhat hesitant to view for too long. There is a visual push/pull, a contrast between these simple yet over-scaled layered forms that evokes an emotional push/pull as well. / Department of Art

Thesis (M.F.A.)--Georgia State University, 2008. / Title from file title page. Mark Burleson, committee chair; Ruth Stanford, Michael Murrell, committee members. Electronic text (29 p. : col. ill.) : digital, PDF file. Description based on contents viewed June 5, 2008. Includes bibliographical references (p. 29).

Thesis (M.F.A.)--Georgia State University, 2009. / Title from file title page. Mark Burleson, committee chair; Susan Richmond, Constance Thalken, committee members. Description based on contents viewed June 12, 2009. Includes bibliographical references.