Uma forma de reduzir a difusão de agentes agressivos para o interior do concreto é através da aplicação de sistemas de pintura, que funcionam como uma barreira ao ingresso destes agentes. A difusão dos agentes através de películas de pintura está relacionada com a sua porosidade, que, por sua vez, depende principalmente do teor e estrutura química da resina e do teor e morfologia dos pigmentos. Esta tese teve por objetivo principal demonstrar que, com uma formulação adequada, as tintas à base de resina acrílica podem ser utilizadas como barreira de proteção eficiente contra a penetração de água e vapor de água, anidrido carbônico (C\'O IND.2\') e íons cloreto, em estruturas de concreto ou em outros tipos de substratos. As formulações das tintas foram definidas em função do tipo de acabamento final e obtidas pela variação da relação pigmento/resina. Foram realizados ensaios de caracterização nas tintas líquidas e nas resinas utilizadas na preparação das tintas estudadas, bem como ensaios de desempenho nas películas livres e em concretos pintados, que apresentavam resistência à compressão de 20 e 40 Mpa. Para a medida da resistência à penetração dos agentes agressivos no concreto, foram desenvolvidos ensaios acelerados, com base em metodologias de avaliação de argamassas e concretos, adaptados a substratos pintados. A microestrutura das películas de tinta foi correlacionada com as propriedades físicas das películas e dos concretos pintados. Os resultados obtidos mostram a importância da formulação das tintas nos fenômenos de transporte e, além disso, mostram que tintas acrílicas e as estirenoacrílicas com diferentes temperaturas vítreas (Tg) apresentam comportamento físico distinto. Tintas de acabamento semi-brilho conferem boa proteção contra a penetração de agentes agressivos no concreto, enquanto que as de acabamento fosco apresentam função mais decorativa do que de proteção. / The diffusion of aggressive agents into concrete can be reduced by the application of painting systems which work as barriers to these agents. The capacity of these agents to pass through the paint is related to its porosity, which in turn is mainly dependent on the structure and content of the resin and on the morphology and content of the pigments. The main objective of this thesis is to demonstrate that with adequate formulation, paints based on acrylic resin polymers can be used as efficient barriers against the penetration of water and water vapour, carbon dioxide and chloride in concrete structures or any other porous substrate. Paint formulations were defined based on the final appearance (gloss) and obtained by varying the pigmentbinder ratio. Characterization tests on the liquid paints and polymers prepared for this study were done, as were performance tests on free dry films and painted concrete substrates, with compressive strength of 20 MPa and 40 MPa. In order to determine the effectiveness of paint in inhibiting the diffusion of aggressive agents into concrete, accelerated tests based on methodologies for the evaluation of mortars and concrete were developed. The films microstructures were correlated with their physical properties and with painted concrete. The results showed that the formulation of the paints has a important effect on the transport mechanism and also that acrylic and styrene-acrylic paints with different transition temperatures (Tg) do not present the same physical behavior. Glossy paints presented a high level of protection against the penetration of aggressive agents whereas matte finishes offered a more aesthetic function rather than protection.

Uma forma de reduzir a difusão de agentes agressivos para o interior do concreto é através da aplicação de sistemas de pintura, que funcionam como uma barreira ao ingresso destes agentes. A difusão dos agentes através de películas de pintura está relacionada com a sua porosidade, que, por sua vez, depende principalmente do teor e estrutura química da resina e do teor e morfologia dos pigmentos. Esta tese teve por objetivo principal demonstrar que, com uma formulação adequada, as tintas à base de resina acrílica podem ser utilizadas como barreira de proteção eficiente contra a penetração de água e vapor de água, anidrido carbônico (C\'O IND.2\') e íons cloreto, em estruturas de concreto ou em outros tipos de substratos. As formulações das tintas foram definidas em função do tipo de acabamento final e obtidas pela variação da relação pigmento/resina. Foram realizados ensaios de caracterização nas tintas líquidas e nas resinas utilizadas na preparação das tintas estudadas, bem como ensaios de desempenho nas películas livres e em concretos pintados, que apresentavam resistência à compressão de 20 e 40 Mpa. Para a medida da resistência à penetração dos agentes agressivos no concreto, foram desenvolvidos ensaios acelerados, com base em metodologias de avaliação de argamassas e concretos, adaptados a substratos pintados. A microestrutura das películas de tinta foi correlacionada com as propriedades físicas das películas e dos concretos pintados. Os resultados obtidos mostram a importância da formulação das tintas nos fenômenos de transporte e, além disso, mostram que tintas acrílicas e as estirenoacrílicas com diferentes temperaturas vítreas (Tg) apresentam comportamento físico distinto. Tintas de acabamento semi-brilho conferem boa proteção contra a penetração de agentes agressivos no concreto, enquanto que as de acabamento fosco apresentam função mais decorativa do que de proteção. / The diffusion of aggressive agents into concrete can be reduced by the application of painting systems which work as barriers to these agents. The capacity of these agents to pass through the paint is related to its porosity, which in turn is mainly dependent on the structure and content of the resin and on the morphology and content of the pigments. The main objective of this thesis is to demonstrate that with adequate formulation, paints based on acrylic resin polymers can be used as efficient barriers against the penetration of water and water vapour, carbon dioxide and chloride in concrete structures or any other porous substrate. Paint formulations were defined based on the final appearance (gloss) and obtained by varying the pigmentbinder ratio. Characterization tests on the liquid paints and polymers prepared for this study were done, as were performance tests on free dry films and painted concrete substrates, with compressive strength of 20 MPa and 40 MPa. In order to determine the effectiveness of paint in inhibiting the diffusion of aggressive agents into concrete, accelerated tests based on methodologies for the evaluation of mortars and concrete were developed. The films microstructures were correlated with their physical properties and with painted concrete. The results showed that the formulation of the paints has a important effect on the transport mechanism and also that acrylic and styrene-acrylic paints with different transition temperatures (Tg) do not present the same physical behavior. Glossy paints presented a high level of protection against the penetration of aggressive agents whereas matte finishes offered a more aesthetic function rather than protection.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

The artist discusses her Master of Fine Arts exhibition at East Tennessee State University, Slocumb Galleries, Johnson City, Tennessee, October 28-November 8, 2002. Her exhibition was a personal narrative of her southern upbringing in small town Appalachia as well as a reflection of her inner thoughts and feelings towards feminism, adolescence, sexuality and Barbie. She chose to reference the female form, void of an actual body, implied through clothing. Works are figurative and sculptural and are constructed of copper, sterling and fine silver. They are sculptural hollow vessels, raised, formed, and colored with gesso and prismacolor pencils. Topics discussed: the artist's experiences as a woman, development in graduate school, casting versus raising, a detailed technical discussion on each piece, the influences of Marilyn da Silva’s use of the narrative and color on metal, and Judith Shea’s use of clothing to reference the human form. Includes images and discussions of twenty-six works and images of the exhibition.