No description available.

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space.

The early-twelfth century sculptures now located within the nave of the Benedictine abbey church of Sainte-Marie at Souillac, France, formerly considered to be the fragmentary remains of a Romanesque portal program, are here read iconographically to form a cohesive, fully integrated and meaningful whole. A careful observation of the sculptures, in conjunction with near-contemporaneous artistic and textual comparators, permits a decoding of their symbolism and reveals the existence of highly sophisticated commentary, from the perspective of coenobitic monasticism, on a number of the more contentious political, ecclesiological and theological issues of the day. The program is read to be informed by and to reflect the clash of ideals within the Western Church surrounding aspects of papal reform from the latter half of the eleventh century.

Through processes of making and breaking in sculpture and writing I explore experiences, concepts and perceptions of breaking. ‘Breaking’ is the main theme running through my work but it arises in many different contexts and I deal with it on different planes. My research simultaneously explores and draws parallels between personal experiences in life: breaking bones, making/breaking sculpture and philosophical concepts of the break. In addition, breaking has become my methodology. Since both methodology and subject are ‘breaking’, each contributes to the understanding of the other. In 2006 I broke my collarbone three times, my wrist and my hand and when I returned to making sculpture I could only relate to my previous artwork by breaking it. By using autoethnographic approaches to foreground my subjectivity I describe a shift from health to injury. A corresponding change in my aesthetic understanding reflects a shift from a sense of a whole self to a fragile, broken one and a further perception of the coherence of the whole as inauthentic. The physical act of breaking in my sculptures then creates a further new subject position, that of the breaker, and that is in tension with my normative social position as a woman. In reflecting on the unexpected experience of power through breaking I explore the creative potential of this position for the female artist. I propose that physical breaking can shift the self towards the uncertainty of the ‘void’ by introducing the new subject positions of breaker and broken. The void is articulated as the break between established structures. Its relative freedom creates both risk and creativity, and evidences multiple subject positions associated with lived and de-centred experience. Giving to others the experience of breaking reciprocally benefits my artwork by introducing multiple subject positions and shifting it towards the void.

There is no abstract available for this thesis.

"Barriers to Closure" was a series of narratives specifically focusing on reoccurring thoughts, fears and anxieties within the artist's life. Instilled when he was younger, these anxieties were never resolved, thus creating additional fears as he grew into adolescence. Eventually they transformed into an intricate obstacle causing resolution to be a difficult task.These narratives are presented in thick bronze frames which constrain the content into a limited space. The pieces are purposefully small due to the artist's personal restriction of revealing what needs to be seen. Therefore, the viewer must draw closer to the piece in order to view the information presented and relate the body of work to their own hidden fears.This exhibition provided an outlet for the artist to deal with feelings that are difficult to explain/express. Communicating these anxieties through this series of visual narratives, assisted the artist in resolving many personal conflicts. / Department of Art

The primary objective of this creative project was the exploration into designing and creating sculptures that combine various materials in a visually pleasing way. Could these sculptures emphasize excellence in craftsmanship and sophistication of surface? Could the inherent properties of these materials be manipulated and combined in an engaging manner, which would enhance the beauty of both materials?This body of work required a variety of metalsmithing techniques including forging, mokumegane, and metal forming. This body of work also required various woodworking skills such as lathe turning and wood joint construction. There were several materials used such as exotic and domestic woods, and ferrous and non-ferrous metals. This body of work challenged my technical and conceptual abilities making me a better artist and designer, not only in metalsmithing, but also woodworking. / Department of Art

This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence. / Department of Art

This creative project was an in-depth study for the artist. It was a realization of a sculptural idea in the artist’s mind. The study was a personal one in the sense that no reference or outside source of any conscious nature was used. The sculptures that resulted from this study were a unique an creative endeavor on the part of the artist. This project was designed by the artist to solve the problem of effectively putting together two types of properties that clay holds, soft, plastic and organic when wet in contrast to hard, stony, and geometric when fired.

The early-twelfth century sculptures now located within the nave of the Benedictine abbey church of Sainte-Marie at Souillac, France, formerly considered to be the fragmentary remains of a Romanesque portal program, are here read iconographically to form a cohesive, fully integrated and meaningful whole. A careful observation of the sculptures, in conjunction with near-contemporaneous artistic and textual comparators, permits a decoding of their symbolism and reveals the existence of highly sophisticated commentary, from the perspective of coenobitic monasticism, on a number of the more contentious political, ecclesiological and theological issues of the day. The program is read to be informed by and to reflect the clash of ideals within the Western Church surrounding aspects of papal reform from the latter half of the eleventh century.