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The basis for this project is the visual representation of memory. Both the past and present are depicted using the tools of a painter and a drawer in the traditional form of watermedia on paper. The question arose: by making a visual record of events that were witnessed, heard, or thought about, could someone piece together a visual representation of memory? This investigation and research sheds light on the nature of memory, its capacity as well as its foibles, while the body of artwork will explore and attempt to hold onto "time". Understanding that the brain processes memory by extracting key elements from experiences for storage, one can visually represent these same key elements in an artwork and generate the memory in what is essentially a "hard copy". In perspective to my artwork, I took a mental note of certain events within a day's time, and sketched the objects that struck my attention on that very same day. I am for all intents and purposes, paring down a day to its most basic elements and recreating the experience: constituting a moment or a memory. / Department of Art

This creative project consisted of four figurative paintings and a paper centered on whether the artist could incorporate convincingly the oil techniques of the past with contemporary content. Several popular techniques used by old masters were researched, documented and adopted for use in the paintings of this project. Techniques discussed included early Flemish egg tempera with oil introduced by the Van Eycks, methods of Durer, the Venetian style of Titian, Veronese, Caravaggio, and the methods of the Dutch and Flemish Baroque, Rubens, Hals, Rembrandt, and Vermeer.In addition, the techniques and intentions of three contemporary figurative painters, Jack Beal, William Beckman, and James Valerio were discussed.