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This thesis investigates the lighting design theory Light Inside Out, which is the technique of shaping light toward a creation of lighting installation in performance utilizing a lighting installation in performance. It analyzes the differences between two lighting methods: 1) Illuminating a performance by theatrical lighting fixtures from outside the performance space and 2) Illuminating a performance with onstage lighting installations. Examples of lighting installation work done by several celebrated artists are also examined in order to demonstrate the unique creative advantage of using lighting installation in performance. Finally, a presentation of my design process for developing lighting installations for past works as well as my most recently developed designs for “ The Difficulty of Crossing a Field” and “Sunyata: Transfigurations in Silk” are included along with pertinent supporting materials, lighting installation process photos, and production photos. / text

I am a utilitarian. Art is part of my necessity. My sink's plumbing is disconnected to remind Simone and I of water, of use. I empty the bucket to flush. The task of grey water collection system is on the "to do" list for the next house. `Real time' laundry awaits a hanging. I'll not let the paper pulp ferment for I practice elsewhere everyday. I follow the suns. Always a painter doing the dishes rooted in this moment deep with homemaking, child rearing. Parenting, Puppetry, Poetry and Papermaking, all quiet revolt. Documentation of the subjected female experience is imbedded in my work's pace, material and nature. The drawing, the movement of my hand, binding, wrapping, arranging represents the containment of the resilient gliding spirit. I operate in opposition to the capitalist, militaristic age. I respond through the expanded painter's tradition. The landscape genre is among the origins of my formal training and now expands to include a land ethic. I interpret the history, economics and contemporary patterns of human migration as I move between my public and private spaces.

I will be presenting my work in two parts. The first section is dedicated to recent paintings that comprise my M.F.A. thesis exhibition: Practical Joy. The second section will investigate Practical Joy as an installation. I will raise questions regarding the relationship between my paintings and the exhibition space in order to situate my work into a contemporary discourse.

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Artist statement Nao Yamamoto The environment I grew up in allowed me to cultivate an appreciation for both contemporary art and traditional craft, and I still respect the Japanese culture. However, experiencing contemporary art based on a different society and environment changed my perspective and I felt like it took me beyond the narrow culture of Japan. Since I recognized my art as a way to represent myself, or even to have conversations with tnyself, I became devoted to a contemporary art practice. It has been so exciting to see my thoughts made visual and how I've been changed by creating my art. I have long created my pieces based on the simple beauty of glass. I was looking fof a way to emphasize what I see in it. During the glassblowing process, I would . sometimes see the molten glass as a creature that has a consciousness that tries to challenge my skill or mastery. This idea helped me to create a different body of work which represented my experience or relationship with glass sculpture rather than the materiality of glass. Now glass has become not only a material, but also my fickle friend which. reflects my inspiration and concentration. I believe that there is nothing that compares with the beauty of nature. For me it is overwhelming because any life form doesn't think about the meaning of life, but only thinks about surviving. When I am at a beach, in a forest, or in the middle of a desert, the simple, pure, clean force of life in nature inspires me to just live, strongly but simply. I believe we have lost that n~tion in complicated contemporary lives. What I atn trying to do is to reinterpret elements from nature to celebrate the power of life, both in its significance and in its insignificance.

Gāpatia i Fa'anoanoaga is a general Samoan expression which literally means 'burden with sadness', which encompasses all aspects of loss and grief in relation to the burden of obligation to reciprocity. This project has functioned as lightening the load of the burden of grief and loss through the process of making an art installation exploring a migrant Samoan experience.My project is concerned with the exploration of Samoan matters of cultural significance such as heritage, religion, identity and family, in particular those customs pertaining to deaths and funerals. The mores and values implicit in these reflect the fundamental aspects of obligation and reciprocity in Samoan life and society. As a Samoan-born and New Zealand raised woman, my work and explorations tended to engage with the challenges of disrupting boundaries formed around ideas of cultural appropriation and cultural authenticity.Therefore this project investigates my position as a migrant Samoan living in New Zealand exploring notions of mobility and globalisation and the effects on the obligation to reciprocity through practical art means. Importantly my art practice intends to explore and position the installation of contemporary materials to speak metaphorically about my identity and issues significant to the obligation to reciprocity in the fa'aSamoa (the Samoan way or in the manner of the Samoans; according to Samoan customs and traditions) particularly the concept tautua aiga (tautua means functions or any service performed in order to support aiga or family)Conceptually my work addresses and brings forth for consideration the impact of mobility and globalisation on cultural issues and practices. Through engagement with contemporary materials and processes my work reflects a kind of 'story-telling', which in this instance is a lament for those who have passed on and for a way of life that is in flux

Situated between music and architecture, this thesis explores the notation, design, and performance of sound space. In the middle of the twentieth century, composers began to include spatial directives in their musical scores. They introduced a lineage of conservation, communication, and conception of spatial meaning in sound. This strategy of notation, as used by Karlheinz Stockhausen and John Cage, demonstrates a working relationship with space that is rooted in the discipline of architecture. As a synthesis of the research, installation projects build the experiential component of this thesis. The design and performance of these sound based installations amplify depth, movement, and change. These unique qualities of sound complete what other media fail to represent, and can significantly inform the ocular-centric design process in architecture. Ultimately, this investigation brings temporality into current architectural discourse by considering sound as an essential component of space. Through the act of listening, this thesis seeks to engage the sonorous layer of architecture and to enrich our experience of the world.

Situated between music and architecture, this thesis explores the notation, design, and performance of sound space. In the middle of the twentieth century, composers began to include spatial directives in their musical scores. They introduced a lineage of conservation, communication, and conception of spatial meaning in sound. This strategy of notation, as used by Karlheinz Stockhausen and John Cage, demonstrates a working relationship with space that is rooted in the discipline of architecture. As a synthesis of the research, installation projects build the experiential component of this thesis. The design and performance of these sound based installations amplify depth, movement, and change. These unique qualities of sound complete what other media fail to represent, and can significantly inform the ocular-centric design process in architecture. Ultimately, this investigation brings temporality into current architectural discourse by considering sound as an essential component of space. Through the act of listening, this thesis seeks to engage the sonorous layer of architecture and to enrich our experience of the world.