The brain begins collecting and categorizing information from the moment we are born. It can identify patterns and direct our choices long before we are consciously aware of it. Even when we become aware of the deliberate choice we often don’t know why we are making it. It is striking how much of what we do is dictated subconsciously by our brains. While I am not a scientist and I don’t aim to research the brain, I think it is interesting to think about how this effects what I do in the studio. I am a product of the world I live in and my work is a product of me.

Looking closely at anonymous subjects in found photographs to jog collective memories and point at gestures, bodily traces of complexity, connectedness or just a quiet moment where nothing monumental is really happening; a pause for distance, a pause for discernment, there is no real difference between nothingness and spectacle.

Moms as historical perspectives, abstraction and image making; Through stoves, swimwear and carpets. Then, one hope- That one-day history will become yours and mine.

Using a diagram, glossary, anecdotes, and first-person narrative histories, I explain how I use sculptural installation, image making, and serendipity to exploit the illogical to the point of being meaningful.

PAINTING AS IN A JOURNEY The experiences, processes, and artistic influences are described in this paper supporting the student’s MFA painting exhibit. A variety of influences from Max Beckmann to Alice Neel, as well as the oil medium itself, helped build the collective knowledge that was used in the development of this student’s work.

What would a repositioned concept of environmentalism look like, one that is specifically determined by the geography and the human rights at stake within the environmental politics of a place? I am interested in determining how performative engagements act as an art form that counters dispossessing industrial, political and environmental regimes. Within this discussion of environmental dispossession I will discuss ways I have used drawing as a conceptual space to explore resistance, redefine cultural capital and challenge archeological structures of knowledge, through my presence and protest.

This essay is an attempt to describe my ideas about my work, my process, and my philosophy of art by examining five of the major pieces I created during the pursuit of a Master of Fine Arts degree at Virginia Commonwealth University. I will discuss the pieces in chronological order, first providing a description of the works’ salient characteristics, then delving into both my specific thoughts about the work as well as the background ideas that were pertinent to me during my process of creation.

This thesis explores my own work in the context of historical and contemporary representations of children. Because the child’s experience is essentially unknowable to the adult, issues of control that are always at play between photographer and subject are highlighted when an adult is the photographer and a child is the subject. This is evident when we examine and compare the photographs of children that have so far existed as well as the contexts in which they were made. While I believe that complete resolution of these issues is all but impossible, my work and research is motivated by a belief in the importance of asking the questions nonetheless.

My thesis work revolves around investigating painting’s relationship with “bad taste” and heroism. By comparing my paintings to illustrative depictions of “heroism”, artists who turn bad art good, ideas concerning modesty, humor, and invention I will contextualize my stance towards “heroism” and bad taste. By establishing my relationship to the aforementioned examples I will trace the growth of my work over the past few years and discuss how its role within contemporary painting has changed as well as how it interacts with various cultural references.

Through interrelated experiments in writing, video, sound, and movement, this research investigates the intersections of intimacy, ecology, and performance. Integrating an autoethnographic approach to gender and sexuality with creative practice and theoretical inquiry, this layered investigation offers implications that are both deeply personal and widely accessible. I am using my own experiences growing up as a queer child to generative corporeal and experience-based material, while also incorporating the ideas of current queer and gender theorists to frame my own research within the larger context of feminist studies. This research culminated into an evening length performance at Dogtown Dance Theatre on April 4th, 2014. The performance is currently being scheduled for future presentations in multiple venues.