The medium format photographs created in conjunction with my senior thesis exhibit, Everyday Decay, use texture, line, intimate framing, warm color palettes, and layering to explore an aspect of the everyday landscape that we interact with often but generally ignore. The choice of medium and subject of decay creates a sense of the past, aided by the warm tones that imply affinity and nostalgia.

Hovering is an attempt to navigate the contemporary digital environment through traditional means. The imagery created function as paintings, photographs, prints, and drawings. They explore and raise questions about visual perception and sensory awareness, as well as highlighting the modular limitations of the pixelated image and the illusion of reality in the digital landscape.

The purpose of this study is to determine objectives for an offering in graphic expression designed to assist non-art majors desiring extracurricular art experiences in the College of the Pacific. It is hoped that through the data gathered by means of opinionnaires and questionnaires used as the basis for this study the project may serve to accomplish the following objectives.: (1) To determine the goals of a voluntary art experience in relation to the general objectives of the College of the Pacific as stated in its published literature.; (2) To determine the relation of such a voluntary offering to the program for the art major.; (3) To survey other college, university, and civic institutions which offer such a program as proposed or programs of a similar nature.; (4) To establish objectives for such a program for recommendation to the administration of the College of the Pacific by the Department of Art.

The discussion and illustration of how paintings function as thresholds is examined in the thesis report and the thesis exhibition, Threshold implies the passage of how an artist approaches the processes of seeing. The painting is the entry point, a place of connection of artist and viewer, a record of human experience transforming individual, interdependent and universal knowledge. Issues of the human body's relationship to vessels, and the metaphor that is integrated in relationship of space and proximity is explored. The significance of symbols and signs and the interplay of historical and personal imagery are examined through the precepts of Feminist Theory. The historical influences are paleolithic and are cross referenced from Japan to India. Other direct influences of the fertility form of the pelvic region of the female frame represents the abstracted appearance, signifying the human body's ability to possess and regenerate its essence. The work and its discussion of this symbol reflect specifically the use of the vessel form synthesizing the anatomical reference of uterus, the regenerative region of the female body. The uterus as symbol is to imply a conscious internal (and external) perception that is relative to ideas of human containn1ent. The paintings are concerned with utility bottles transforming a sense of transition metaphorically from earth to air, opaque to transparent. The object of painting as a threshold for visceral knowledge and an opportunity for the knowledge is explored through the proximity of objects. Usage of materials creates a personal dialogue. Merging specific experiences into visual documents, the content and the symbols create parallels of the vessel to the body as forms that hold. The realization that the distance of objects establishing their relationship, and the philosophical importance of the vessels and the bodys void are symbolically represented in both the written word and the painted image.

A sculpture can offer visual information that is simple or complex. The work can present only a single facet to ponder or deal with all facets equally polished and linked. There can be enough information to arrange in an order that reads as narrative. All is possible but, without question, the more complex the sculpture, the more information given, the greater the challenge to the artist to make a coherent and interesting whole of everything being presented. The body of work presented in my thesis show represents the outcome of exploring a chain of questions about sculpture. The first question was simply how to present a sculpture of a seed pod. This question led to inquiring what the base could do for the sculpture. Next came a study of the artwork of Constantin Brancusi. I realized that he had used formal qualities of sculpture to link his bases and sculptures, so I wondered about the ability of formal qualities to solve my base/sculpture problems. All of the work was completed with the intent of expanding my personal sculptural lexicon. I also intended to develop a store of knowledge that allowed free use of multiple artistic concepts. The hope was that what was being communicated through a sculpture would be sufficiently complex that a viewer would be intrigued into considering all the possible implications of the visual information.

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