Over the course of my time here at Iowa, my work has taken a turn I never anticipated. I will reflect on the reasons for my transition from looking out the window to looking in. Although the work has shifted drastically, my motivations to create have remained the same. I owe the limited understanding I have of these motivations to the reading I engage in alongside my creating. If I had to identify the most seminal books of my time in graduate school, I would single out A Place of My Own, by Michael Pollan and Invisible Cities, by Italo Calvino. I will discuss how these and other texts have influenced my work, while accounting for the shifts I have made over the past three years.

Glacial Warm investigates romantic, human relationships and our collective commitment to the environment we inhabit. A couple travels and settles into polar and tropical landscapes, gathering, taking shelter, and finding sustenance together. They build their climate, adapting to continuous change. Through glaciers melting, volcanoes hissing, whales breaching, and nude bodies touching and holding, I develop a painted mythology. Partnership is embodied through separate entities working together. Everyday tasks become intimate gestures. The tenderness of these gestures is rooted in their separation as individuals. Paint application is direct. What melts, drips. What freezes is preserved in cloudy impasto. A kiss is an oily smudge.

The thesis discusses drawings and paintings completed during the period of study from October, 1975 to April, 1977 and presented at the Department of Art and Architecture Gallery April 21, 1977 to May 13, 1977.

These paintings are a record of my recent past, a past with a new son, major life shifts, big decisions and risks. These paintings are a record of my distant past, of my relationship with my father and siblings. These paintings are a record of my present, my relationship to art, current, past, good and bad. These paintings are both joyful and cathartic, simple and confusing. They are about my life, and my attempt to not repeat the mistakes of the past, but to try create joys for the future.

This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary / Master of Arts (Hons)

The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself / Master of Arts

PhD / This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.

Thesis--Universität Köln, 1967. / Vita. Includes bibliographical references and indexes.

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2007 Jun 16

The work in this exhibition is the result of philosophical contemplation and the concepts that followed from these moments. The moment that we find ourselves conscious, the moment in which we inhale or exhale is the focus of this work. Through the materiality and physicality of paint, I explore this moment. Paint thus acts as a metaphor for my body, having set parameters that dictate its cause and effect. The very nature of painting; its essence, is the moment of state change from a fluid material to a solid state. I use the method of process and tools that I invent to help express these concerns of eternal recurrence. I make paintings that make space visible and invisible.