Hospitals can no longer be thought of as simply healing machines--they are healing organisms. It is Nature that permits every miracle of medicine, and it is Science that permits our understanding of medicine. By combining the two into a single idea, we aim to strike a balance between the duality of Nature and Technology, in order to design a space that relies more on the healing powers of Nature and less on the intrusiveness of Technology.

Abstract: This project explores the ritual of leisure, social interaction, and reflection in a democratic* space. Water is the universal experience. The program for this site examines the ritual of bathing and the role of intimacy within a public domain. *democratic: absence of hereditary or arbitrary class distinctions or privileges

In the past, a user’s interaction with objects was usually limited to a core function. Whereas today, there is a trend toward objects that can offer multi-layered experiences with the potential to not only serve a core function, but to communicate information and emotion. These interactions offer a give-and-take relationship between the user and the object, with the potential for characteristics, individualistic features, and even personalities to appear. Interactions with such objects provide the potential for empathic relationships to form between human and object. Empathy becomes the bond that gives a user the opportunity to view the world from the object’s perspective. It can create a sense of connection beyond the objects functional expectations, and provides the potential for a more meaningful exchange. In my research, I speculate that empathy can be used as a powerful tool of communication. I offer possibilities on how this tool might be used to learn a skill, to recall a memory or to show an accomplishment. Applied empathy in my research is illustrated through a series of experiments and proposals that demonstrate mechanisms to document today’s changing phenomena in Qatar through the creation of objects.

Each stitch is a piece of me that I give, a moment of my life and a unit of my love, meticulously culminated into a universal visual language. The optimist in me knits for the cause, while my formalist counterpart works to make the images that sell my thoughts. I knit for the lovers.I make these objects as a practice and a confirmation of my optimism. I make these images to communicate and persuade as a serious contender while at the same time retaining my own optimism and sanity by promising to never take myself too seriously.

This thesis includes ideas and explorations behind my MFA thesis work and the work that that preceded it in late 2010 and early 2011. In it, I use a creative text by Gertrude Stein, in which she reveals ways that writing reveals and creates language and culture, to illustrate similar ideas regarding field recording and appropriation in my art practice. I use this thesis writing to investigate practices and relationships between media and how these practices can encourage an active, participatory, listening and looking. It also contains discussion of the use of popular music in torture, which inspired Rendition(s), and concludes with a detailed look at the construction of Rendition(s).

For the past ten months I have explored the life of a deceased artist named Joseph Barley "J.B." Childers. In the graduate catalog Gregory Volk summarizes Childers as, "an alienated Korean War Veteran, who took up painting as a refuge from his troubles, and who also doesn't exist. Childers who is naturally right-handed, painted everything left-handed because of a war wound, and so Engelmann, who is left-handed, painted with his right hand, which is quite a limitation." Of course, there's more to the story than that and the writings that follow will explain many of my reasons for pursuing this project.

This body of work, representing the past two years, is focused on the idea of the composite landscape. This reconfiguring of the elements from the external world combined with invented places is a way for me to articulate the subtle transactions between the interior psyche and the external world. The way this new conglomerate space is represented is a result of my inquiry into the relationship between nature, culture, and the sublime. The place where the private acts of the studio meet the shared exterior world is where I find my intellect, fantasy, and sense of reality collaborating in chorus.

I make images that are fragmented like ominous dreams. Described with sensuous marks of paint, they demand intimacy but reveal vulnerability as they threaten to break apart before the eyes. This thesis examines my journey over the past two years at VCU and describes my artistic beliefs and visions.

This paper is a critical look at video and performance arts intrinsic relationship to culture. Investigations of storytelling, personal mythology, fear, and image saturation. Think-pieces on the nature of art in an entertainment society. Juggling a brief overview of various works and their relation to over arching themes of game theory, dark humor, and fascination with media. An in depth look at the process of the thesis show, "Defense is the Best Defense." Multiple takes on the thesis exhibit counterbalance the need for contemporary art to include description. This paper is a detailed look at the process of Ryan Mulligan's artwork and methods of materials. Ryan Mulligan's work takes the form of performance lectures, video, and installations. Here the intuitive is dismissed and a demystifying approach to describing production and theory bridges a gap in contemporary literature on art making. Anecdotal stories on process, desires, thrusts, and methods illuminate an any-means-necessary artistic approach.

The title of this thesis Bottom Creek, Bent Mountain, VA is the subject of my large ink drawings. Starting with the spring outside my window, this book describes the creeks as it flows across the mountain that I grew up on. My drawings document the experience of walking along the banks of Bottom Creek as it flows past farms fields and along the roadside. Described as a seemingly insignificant place, the creek is in fact it is one of the most basic, and important parts of this mountain’s landscape, because the creek’s natural process it is responsible for producing the landscape as we see it. Through drawing the water from direct observation, I find a deeper connection to the land and respect for its ever changing processes.