This thesis, Choreographic Space, and accompanying exhibit is an arrangement of contemporary work being done in the cross-over between movement, drawing, sound and architecture. The thesis develops a lineage of choreographic thinking through a fissure in the classification of a dance as necessarily the body in motion. Through the link of the “choreographic object,” Choreographic Space asks how an interdisciplinary exploration of the principles of movement can reveal novel ways to think about the body in space.

From my observation as a new resident in Education City, I recognize a need for cultural awareness and communication amongst those studying and working in this particular area. With this project I propose a different experience, a new way to use experiential learning as a mechanism to change people’s predetermined opinions about one another and disrupt personal biases in order to foster cultural awareness and friendship. A mapping system or wayfinding strategy to navigate a new city is the beginning of a visitor’s experience in a new place. This new experience is one way for users to identify locations through the use of a mapping system, discover cultural communication areas and be involved with sensory objects that require them to become aware of their surroundings. All of these elements are a catalyst for students in Education City to communicate and participate in experiential learning as part of their experience in Qatar.

“[that] which does not change does not endure” – Henri Bergson Numbers only quantify the development Qatar is experiencing. In Doha, the city is a physical manifestation of these changes. The general approach to development follows a ‘tear down, build new’ model. Potential value is lost in what is discarded, despite necessity and convenience. This study addresses the topic by dispelling the assumed need to destroy in order to build. In doing so, it examines existing vernacular spaces that are often overlooked. The main application is analyzed through agents of space, such as buildings and the urban environment with varied outcomes. The study introduces and encourages an alternative narrative to the existing approach through transformative principles of preservation. It addresses the core concepts of temporality and permanence by negotiating what to retain and/or what to alter. Consequently, trace plays a major role as a process of honoring and embracing the past by materializing it. Incorporating novel elements allow for a shift in perception to occur. Value becomes a method of enriching and elevating a topic, idea, artifact, material, function, or experience.

Today, more than 400 million individuals around the world have diabetes. This number is expected to grow to more than 600 million by 2023. However, diabetes is more than just a statistic. It is an incurable, psychologically nuanced disease, with daily battles and far-reaching complications. The lives of those afflicted undergo permanent physical and psychological changes. Reading the stories of diabetics, or hearing them share their experience may elicit an immediate yet often fleeting sense of realization. How, then, can this brief moment of awareness be prolonged? How can a non-diabetic feel diabetes? More importantly, why should they? This research explores empathy as a tool to achieve that level of understanding. Elements found on the dining table, a place most diabetics are acutely aware of, were redesigned in an attempt to recreate certain aspects of the diabetic experience. These items no longer function in the way they were intended to, but have been transformed into tools that evoke empathy. A non-diabetic will get to experience the struggles associated with four main areas: control, or lack thereof; unpredictable dysfunctionality; a constant state of alertness; and finally, the burden of living with the disease, and the anchoring effect it has on those afflicted.

Public spaces are noted by historians, philosophers, planners, etc as being the lifeblood of civic centers, spaces that bring people in community together for a myriad of reasons. Recalling the ancient Agricola’s of ancient Greece to the modern version of malls and pedestrian plazas, these spaces are where social interactions occur, ideas are spread, and are open for all people to enjoy. Beautifying these spaces with public art and well-thought out design encourage the use of these spaces and work to empower those who use them. While the mode in which public art populates public spaces has changed, the notion that they exist to benefit a public good, act as a civilizer, create character and a distinct environment endures. The idea of public art is unique and is noted for doing something that neither a public space without art nor a museum with art can do: it can capture the eye and mind of individuals passing through public spaces. Making people pay attention to the civic environment around them, creating a sense of “civic vitality” in cities, towns and communities. Public art prompts vital questions about our environment and ourselves, encouraging a broad range of learning opportunities. Public installations of art celebrate culture and the environment, providing connections to history and the natural world. It makes space interesting and different from another. Public artwork is celebrated and condemned for its ability to challenge, delight, educate, and illuminate. Establishing written policies and programs for the arts solidify their place in communities, enacting a set of codes and a process for which artistic endeavors are woven into the complex urban landscape. The role public art plays in communities is unique in the marrying of two very different sectors of civic life: art and aesthetics with the political planning process. This study examines how political decisions impact the installation process for public artwork in cities. How do written policies and programs support opportunities for installations, ways to empower the community and brighten the streetscape, and where are there gaps in knowledge and information that make the process more convoluted and difficult to navigate? Through studying the public art installation process in the City of San Luis Obispo from the perspective of the administrators working with the public art programs and policies and comparing the process with the ways in which the community is empowered by public art a number of recommendations are made to increase transparency and encourage artistic opportunities in the town with an already robust Public Art Program.

The artist discusses the influence, concept, and process behind creating a cohesive body of work and accompanying show, Submersion, for the completion of her Bachelor of Arts degree and undergraduate research for the Fine and Performing Art Scholars branch of East Tennessee State University's Honors College. The show is to be held May 1st through May 7th of 2014 with its reception on May 3rd in the Submarine Gallery located on ETSU campus. The artist explored themes of the unknown, subconscious, and memory, using water as a reoccurring symbol. The works include five large portraits and two small to medium underwater landscapes in oil paint completed between Fall of 2012 and Spring of 2014. Three large-scale charcoal drawings completed in the Spring of 2013 relate to this body of work as part of a further exploration of the concepts of interest, but will not be included in the Submarine Gallery show and were instead presented as part of the B.A. Senior show in the Fall of 2013. Influences on the artist's work come from artists Jeremy Miranda, Alyssa Monks, Bill Viola, Susanna Majuri, Andreas Franke, and the work and techniques of the Old Masters

This thesis paper supports the Artist’s Master of Fine Arts exhibition held at the Tipton Gallery, located in downtown Johnson City TN from November 30, 2015 through January 22, 2016. The works Included in the exhibition consists of a series of mixed media collage paintings, a large scale etching combined with clay and a site specific installation. The Exhibit features work that delves into the concept of nature as a subject of beauty, as well as a symbol of the resiliency of life. The work in this exhibit exposes the separation that exists between humanity and the natural world. Through an exploration of memory the importance of a connection between human beings and nature is revealed. The following further expands upon on the ideas, influences, techniques, and concepts that led to the formation of this exhibit.

The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination. The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.

The goal of this thesis was to take a character from concept to creation and animation. A variety of skills in 2D and 3D computer graphics were used in order to design and build the character for a 3D space. The character was taken from flat concept to 3D model, and then rigged with a skeleton in the 3D program Maya so that the character could be animated. The focus of the animation is a walk cycle.

Through all of human history, artists and other creators have been able to access the extraordinary state of flow to achieve amazing feats. Whether it be for a divine purpose, or simply making someone’s day a little better, art has been used to lift the spirits and nourish humanity. In our attempt to cope with the world in which we live, we have found this great mental resource, that has allowed for achievements that not one person could not attain on their own. In my observation, I have seen this euphoric cycle of flow change the lives of so many and provide the tools necessary to reach one’s full potential. Through my experience and research I created a visual representation of how I perceive the concept of flow using dance, animation, and the four elements as my inspiration.