No description available.

No description available.

No description available.

As humans and society have evolved, living has become more abstract and individualized. This report on the creative project discusses the artistic process and how each of the five works personalized or called attention to the abstractness of a beholder's existence. Each of the mixed-media works centered around a hand-built ceramic granary form which referenced the human drive to store resources. During exhibition at Ball State University, beholders would construct an association to storage by resolving the disparities caused by the mix of images and materials in each artwork.The artistic process was defined into three categories of experiences: personal investigation, experimentation and skill-building. A major component of personal investigation was the development of the Visual Vocabulary, a collection of devices, images and ideas from the artist's life experiences. The experimentation category occurred when the elements of the visual vocabulary were conceptualized into a scenario for an artwork. The physical work involved in making each artwork was part of the skill-building category. How each work was constructed and the exhibition was also discussed. / Department of Art

This project examines the relationship between form and the resultant space that it encloses, through a process of assembly. The process consists of assembling materials in Phase 1, and assembling parts cut-out from a homogenous ceramic form in Phase 2. Embedded in the act of assembly is the designer's ability to construct the object in multiple formal configurations. Manipulating the form (solid) results in mutation of the space (void) held within and in-between the solid, and vice-versa. Four formal concepts guide the process of assembly in this study: interplay of solid and void, manipulation of the material skin, dynamic visual motion, and light as a building materialThe research in this paper consists of literature survey, precedent studies on two ceramic artists, and analysis of art exhibits.The significance of this project lies in its ability to blur the boundaries between academic disciplines of metalsmithing and ceramics, art and architecture. Design resulting from the overlap between disciplines has vast potential and can lead to dynamic possibilities. / Department of Art

This project has shown how a ceramic vessel can be used as a metaphor for human emotion and feeling. People are like ceramic vessels because they hold in emotion how vessels hold liquids or solids. Artists that are reviewed in the project are Peter Voulkos, David Leach and Bob Witt. The body of work is made up of a series of teapots that are built of a base, body, spout, lid and handle. Changing the position of any one of these parts can give the teapot a different feeling. / Department of Art

The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole. / Department of Art

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 381-422). / Also available by subscription via World Wide Web / xviii, 423 leaves, bound ill., maps 29 cm. +

This thesis is based around detailed analysis of an assemblage of newly excavated material from the Paphos Theatre site in SW Cyprus. Before presenting the new work, the academic context into which it must fit is investigated. This process of re-evaluating past work sets up a framework within which the new material would be expected to fit. In fact, research on Late Roman Cyprus is not as advanced as might be expected after over seventy years of excavation. This is most particularly the case for fundamental principles like typology and chronology for the local ceramics and glass. A review of past and current excavations shows that the typology of Cypriot Red Slip ware is widely used around the Eastern Mediterranean as a dating tool for deposits containing this distinctive Fine ware. This makes it essential that it be confirmed to be a reliable and substantially correct construct. Unfortunately, a re-analysis of the foundations of the Cypriot red Slip ware typology and chronology reveals many uncertainties and establishes the necessity for new material from secure deposits to help refine current typologies. The artefact assemblage from Area Three at the Paphos Theatre provides just such an opportunity. A combination of a series of sealed deposits, a high density of artifacts and identifiable coins has enabled a comprehensive study to be achieved. A major collapse, probably an earthquake, sealed a paved street and drainage system in the trenches and this episode can be pinpointed to around the mid to late fifth century by the coin evidence. Most interesting is the fact that the dating suggested by the coins does not match the dating usually assigned to the associated pottery and glass. After establishing the reliability of the coin evidence, the study of the other artefacts offers new ideas about the dating and typology of the local Cypriot Red Slip ware, Cooking ware, Lamps and Glass. In fact an analysis of all the pottery from the site suggests that the chronology of Cypriot Red Slip ware and Cooking ware in particular needs to be pushed back to focus on a floruit in the fourth and fifth centuries. This is at least one hundred years earlier than current typologies that focus on the mid sixth to seventh centuries. This analysis provides some reliable fixed points, for both local pottery and glass, earlier in the Late Roman sequence upon which future work can be built.

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: Martha A. Latta.