This M. F. A. thesis exhibition consists of painting, sculpture, and video completed over the last five months. In support of the exhibition, an artist's statement outlines my exploration of the interaction between artist and audience, stylization and mass production of image.

This thesis paper is meant to serve as a supporting document for a thesis exhibition that was held the University of Waterloo Art Gallery. The show consisted of paintings on Plexiglas and sculptural installations with fluorescent lights. <br /><br /> The aesthetic style of my paintings makes a strong reference to the visual vocabulary of computer software. More specifically, it mimics architectural computer vector graphics from the 1980s. There is a visual metaphor created in my paintings where it blueprint drawing has 'evolved' into computer vector graphics, ultimately though, nothing has changed. The images are still hand drafted with pencils and then hand painted. The lexicon of digital software is appropriated, but by transferring the images from the virtual space of the screen to a literal three-dimensional space, the meaning is discarded. They become generalized abstract signs that retain their connotations, but not their meaning and function. The work thus makes a simple point in its refusal to 'get digital. ' There is a fetishization of technology, yet simultaneously a refusal of it. <br /><br /> Other concerns that I deal with in my work and thesis paper, include notions of good and bad taste, kitsch and the Camp aesthetic, science-fiction, nostalgia, representations of the 'future,' Suprematist painting, Minimalism, Design, and the utopian ideals of Modernism.

This M. F. A. thesis exhibition consists of painting, sculpture, and video completed over the last five months. In support of the exhibition, an artist's statement outlines my exploration of the interaction between artist and audience, stylization and mass production of image.

This thesis paper is meant to serve as a supporting document for a thesis exhibition that was held the University of Waterloo Art Gallery. The show consisted of paintings on Plexiglas and sculptural installations with fluorescent lights. <br /><br /> The aesthetic style of my paintings makes a strong reference to the visual vocabulary of computer software. More specifically, it mimics architectural computer vector graphics from the 1980s. There is a visual metaphor created in my paintings where it blueprint drawing has 'evolved' into computer vector graphics, ultimately though, nothing has changed. The images are still hand drafted with pencils and then hand painted. The lexicon of digital software is appropriated, but by transferring the images from the virtual space of the screen to a literal three-dimensional space, the meaning is discarded. They become generalized abstract signs that retain their connotations, but not their meaning and function. The work thus makes a simple point in its refusal to 'get digital. ' There is a fetishization of technology, yet simultaneously a refusal of it. <br /><br /> Other concerns that I deal with in my work and thesis paper, include notions of good and bad taste, kitsch and the Camp aesthetic, science-fiction, nostalgia, representations of the 'future,' Suprematist painting, Minimalism, Design, and the utopian ideals of Modernism.

A terminal project report featuring the work of Margaret Shirley submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts.

The Poetic Process is a creative thesis analyzing the use of different poetic forms but focuses more on the application of them through a series of creative work.

This thesis project consists of sixteen abstract sculptures. The material most often used is polyester resin. The work explores the emotive potential of the relationship between the organic forms and geometric spaces. The forms are derived from observing the environment, other current artists’ works, and the works of art history. The sculptures generally divide into three groups. The first is composed of geometric and organic forms that are altered slightly so that aspects of each form reside in its opposite. The second group maintains a purity of organic and geometric elements. Here a balance is kept by weighing the visual strength of each form. The third is like the second except that the organic forms are easily recognized as human forms. Color is used to alter the impact of a form. The whole body of work strives for an equilibrium between form and color.

A terminal project featuring the work of Jeffery C. Johnston submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts.

A thesis featuring the work of Kenneth Butler submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Painting.