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Paveikslų ciklą – „Iš tamsos“ – galima būtu apibūdinti kaip savotišką pasakojimą – atskleidžiantį mano pasąmonės klodus, manyje vyraujantį pasaulį, mano jausmus ir išgyvenimus, darbai yra kupini simbolių, perkeltinių prasmių, metaforų ... Tai tarsi filosofinė pasaka, koncentruojanti dėmesį į pateikiamus personažus, judesį, kompoziciją nuotaiką, koloritą, tekstūras, toninius perejimus, verčianti gilintis į šių faktorių reikšmę bendrai darbo visumai. Savo darbų atlikimui pasirinkau šilkografijos techniką. Esminis darbų atlikimo procesas – per specialiai paruoštas klišes (šilkografiniai tinklai padengti specialia šviesai jautruma turinti emulsija),ant popieriaus dengiamas tam tikrų dažų sluoksnis. Tai ilgas ir labai kruopštus darbas, reikalaujantis daug pastangų laiko ir kantrybes, bet tuo pačiu metu suteikiantis labai turtingą meninį, grafinį vaizdą, kuris manau būtinas, kuriant išskirtinius darbus. / Main purpose of my work was to create twelve images, transpierced with symbols, codes and magic realism. In my pictures I tried to hit a creatures of my imagination ore my dreams. I hope that my imagery will turn in to a creative dialogue between me and viewer…All twelve pictures done in silkscreen technology. I think that this technology gives picture unusual feeling and unexpectedness... All my pictures done using CMYK colour palette. CMYK short for cyan, magenta, yellow, and black, and often referred to as process color or four color is a subtractive color model, used in color printing, also used to describe the printing process itself. The CMYK model works by partially or entirely masking certain colors on the typically white background (that is, absorbing particular wavelengths of light). Such a model is called subtractive because inks “subtract” brightness from white.

Aš pristatau šilkografijos technika atliktą darbų kolekciją „Laiko ženklai“.Ji sudaryta iš vienuolikos savarankiškų darbų, kurių pavadinimai: 1.Ženklas I. 2.Ženklas II. 3.Ženklas III. 4.Ženklas IV. 5.Ženklas V. 6.Ženklas VI. 7.Ženklas VII. 8.Ženklas VIII. 9.Ženklas IX. 10.Ženklas X. 11.Ženklas XI. Žmogaus būtis, egzistencija jau šimtmečius jaudina ne vieną filosofą, dramaturgą, poetą ir kiekvieną iš mūsų,todėl ši tema nekintamai aktuali ir neišsemiama bet kuriuo laikmečiu. Laiko ženklai, tai tarsi kiekvieno žmogaus palikti pėdsakai laike ir erdvėje, tai lyg jo būties įprasmintas pavidalas -laiko ženklas, tai lyg įrėžta žymė erdvėlaikyje, kuri prasidėjo žmogui užgimus ir baigėsi jam mirus. Visi vaizdiniai, aplinkybės, duotybės , akimirkos, epizodai išgyventi žmogaus ir sudaro - JO KODĄ, JO LAIKO ŽENKLĄ paliktą erdvėje ir laike. “Kas lieka žmogui nugyvenus gyvenimą? Ar egzistuoja išliekamieji laiko ženklai laike ir erdvėje? Ar tik prasmingai nugyventas gyvenimas turi išliekamąją vertę? O koks gyvenimas yra prasmingas( juk kiekvieno žmogaus, kaip individo prasmės suvokimas yra skirtingas)?“. / I am representing my collection, wich was done in silkscreen technique colled “Signs of time”. It composed of eleven individual works: 1. Sign I 2. Sign II 3. Sign III 4. Sign IV 5. Sign V 6. Sign VI 7. Sign VII 8. Sign VIII 9. Sign IX 10. Sign X 11. Sign XI Human beeing, egsistentialism it is most concerning themes in every century.The meaning of life constitutes a philosophical question concerning the purpose and significanse of human existence. The concept can be expressed through a variety of related questions, such as Why are we here?, What's life all about? and What is the meaning of it all?.Is there anything left after we are passing away? Maybe we are leaving some signs in a thime and in a space, some ours SIGNS OF TIME?

My explorations around the world are intertwined with my excavation of the layers of art history. My discoveries about the traditions of the printmaking medium are fused with the heritage I inherit as an artist. This is what is put into my current body of work. With this supporting manuscript, I hope to inform about the technical aspects of my unique aesthetic and to entertain with the ideas behind my current body of work by making connections between my personal visions and experiences and the significance of the artists and craftsman who inspire me.

This document investigates the concept of why man creates animal images and introduces the influences and focus of the artwork contained in the public exhibition. These original images focus on the similarities between animal and human personalities. Also included is a brief history of each "ink on paper" printmaking process used and a comparison of the results. All of the techniques discussed generally have a photographic process as their basis and use personal photographs and drawings for the foundation of each original print. In conclusion, areas for growth, enhancement, and future work are discussed, including a summary of the personal insights gained through the body of work. This thesis also supports the visual exhibition in the B. Carroll Reece Museum, East Tennessee State University, in fulfillment of the Master of Fine Arts degree.

Orientador: Débora Deliberato / Banca: Lúcia Helena Reily / Banca: Tânia Moron Saes Braga / Resumo: A literatura tem discutido a importância de o professor utilizar a história como instrumento mediador para a aquisição de conceitos e para a expansão de enunciados. Profissionais da educação e da saúde têm discutido a necessidade de adequar e adaptar os livros de histórias para alunos com deficiência visual, para que possam ter oportunidades de aprendizagem significativas. Este trabalho teve como objetivo adaptar graficamente livros de literatura infantil para alunos cegos. Participaram desta pesquisa três alunos cegos da educação infantil de uma cidade do interior de São Paulo, suas famílias e seus professores. Foram utilizados como instrumentos de coleta de dados a entrevista semiestruturada, a filmagem e o caderno de registro. A pesquisa foi dividida em dois momentos: no primeiro foram feitos procedimentos com os alunos cegos, seus familiares e professores e, posterior e concomitantemente, foram estabelecidas as etapas da adaptação do material e os parâmetros para a produção gráfica em larga escala. Por meio da análise dos resultados obtidos nos procedimentos do primeiro momento foram encontrados os seguintes temas norteadores para as adaptações dos livros: os recursos pedagógicos utilizados em sala de aula e em casa; adaptações táteis feitas pelas professoras e mães; procedimentos para leitura do livro de literatura infantil; compreensão que o aluno cego tinha com a atividade do livro de literatura infantil; importância da contagem de histórias para aluno cego; orientações realizadas com os professores e familiares dos alunos cegos e critérios para seleção dos livros adaptados. No segundo momento, foram identificados parâmetros gráficos para adaptação de materiais por meio da impressão em serigrafia, ou seja, papéis, tintas e vernizes compatíveis com o processo e custo unitário de produção dos materiais adaptados... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The literature has discussed about the importance of teachers using story books like a mediator instrument for acquisition concepts and state expansion. Educational and health professionals have discussed about the need of not only suiting but also adapting story books to blind students, in order to achieve significative opportunities of learning. This work had the aim of adapting, graphically, children literature books to blind students. Three students, their families and teachers from a small town in São Paulo have taken part into this research. Registering notebook, filming and semi structured had been used for the interview. The research has been divided into two moments: at the first moment some procedures have been used on blind students, their families and teachers, afterwards and concomitant, the material level adaptation has been established, and the parameters to a wide scale graphic production. The analysis of the acquired results, obtained with the procedures of the first moment, found ruling topics to the adaptation of the books: the pedagogical resources used in the classroom and the home, tactile adaptations made by their teachers and mothers, reading procedures for literature children books, the comprehension that blind students had in activities with the literature books, the importance of telling stories for blind students, the orientations given to teachers and mothers, and criteria's used to selected books for adaptation. At the second moment, graphic parameters materials were identified to silkscreen press, so, papers, inks, varnish compatible with the print process and the costs of the adapted material per unit. At the end of the analysis conduct with selected adapted books it was possible to develop a manual orientation for the teachers and a manual orientation for the graphic producer. During the first moment, there was the conclusion about... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2014-06-11T19:24:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-26Bitstream added on 2014-06-13T19:31:51Z : No. of bitstreams: 1 preto_vo_me_mar.pdf: 4996677 bytes, checksum: 489906055a024e63b3ad47e592f5e155 (MD5) / A literatura tem discutido a importância de o professor utilizar a história como instrumento mediador para a aquisição de conceitos e para a expansão de enunciados. Profissionais da educação e da saúde têm discutido a necessidade de adequar e adaptar os livros de histórias para alunos com deficiência visual, para que possam ter oportunidades de aprendizagem significativas. Este trabalho teve como objetivo adaptar graficamente livros de literatura infantil para alunos cegos. Participaram desta pesquisa três alunos cegos da educação infantil de uma cidade do interior de São Paulo, suas famílias e seus professores. Foram utilizados como instrumentos de coleta de dados a entrevista semiestruturada, a filmagem e o caderno de registro. A pesquisa foi dividida em dois momentos: no primeiro foram feitos procedimentos com os alunos cegos, seus familiares e professores e, posterior e concomitantemente, foram estabelecidas as etapas da adaptação do material e os parâmetros para a produção gráfica em larga escala. Por meio da análise dos resultados obtidos nos procedimentos do primeiro momento foram encontrados os seguintes temas norteadores para as adaptações dos livros: os recursos pedagógicos utilizados em sala de aula e em casa; adaptações táteis feitas pelas professoras e mães; procedimentos para leitura do livro de literatura infantil; compreensão que o aluno cego tinha com a atividade do livro de literatura infantil; importância da contagem de histórias para aluno cego; orientações realizadas com os professores e familiares dos alunos cegos e critérios para seleção dos livros adaptados. No segundo momento, foram identificados parâmetros gráficos para adaptação de materiais por meio da impressão em serigrafia, ou seja, papéis, tintas e vernizes compatíveis com o processo e custo unitário de produção dos materiais adaptados... / The literature has discussed about the importance of teachers using story books like a mediator instrument for acquisition concepts and state expansion. Educational and health professionals have discussed about the need of not only suiting but also adapting story books to blind students, in order to achieve significative opportunities of learning. This work had the aim of adapting, graphically, children literature books to blind students. Three students, their families and teachers from a small town in São Paulo have taken part into this research. Registering notebook, filming and semi structured had been used for the interview. The research has been divided into two moments: at the first moment some procedures have been used on blind students, their families and teachers, afterwards and concomitant, the material level adaptation has been established, and the parameters to a wide scale graphic production. The analysis of the acquired results, obtained with the procedures of the first moment, found ruling topics to the adaptation of the books: the pedagogical resources used in the classroom and the home, tactile adaptations made by their teachers and mothers, reading procedures for literature children books, the comprehension that blind students had in activities with the literature books, the importance of telling stories for blind students, the orientations given to teachers and mothers, and criteria’s used to selected books for adaptation. At the second moment, graphic parameters materials were identified to silkscreen press, so, papers, inks, varnish compatible with the print process and the costs of the adapted material per unit. At the end of the analysis conduct with selected adapted books it was possible to develop a manual orientation for the teachers and a manual orientation for the graphic producer. During the first moment, there was the conclusion about... (Complete abstract click electronic access below)

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.

In this thesis statement I explore Sikh-Punjabi masculinity in the diaspora. I am concerned with questioning the construction of my identity and the possible impact of new forms of masculinity on the next generation of diasporic Sikh-Punjabi youth. I use found text and video to examine these new identity constructions. As a foundation for these explorations into masculinity, I am concerned with unveiling concealed and erased memories and realities as related to Sikh-Punjabi diasporic communities. This thesis looks at my work along with the work of other artists.

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