This text is an exploration of the ideas and work that I made in 2014.

According to Walter Murch, sound designer, “The clearest example of encoded sound is speech. The clearest example of embodied sound is music.” In image, object and performance I have been exploring the embodiment of the encoded through the graphic representation of symbols (illustrate), the manifestation of symbols through material construction (embody), the activation of symbolized meaning though performance (enact), and the dematerialization of form and democratic dispersal of information through shared experience (engage). This methodological approach aims to transform metaphysics into physical being as a mode for researching energetics and abstract communication by bringing theory into practice where it can be tested for truth.

My faith is an important factor in my art making. I believe the ability to create is endowed by an original Creator. My work continues this initial creative legacy while confronting viewers with a storyline of beauty, truth, justice, and redemption. I am a realist oil painter devoted to portraiture and figurative work. Human form, gesture, and facial expression provide inexhaustible subject matter. I depict narratives from antiquity to the present day. Some of my paintings contain spiritual elements based on biblical writings presented in a contemporary context. I work from photos that I take of family, friends, and strangers from all walks of life. I often digitally reorganize the imagery to create the most effective composition in telling a story. Extreme contrast of light and dark is a crucial component of my current work. With it, I explore the dichotomy of revelation versus concealment. I also create pottery intentionally rooted in utilitarian traditions. I work with wheel- thrown and hand-built stoneware and I decorate it with a basic glaze palette. I appreciate how handmade ceramics add an organic, creative touch to everyday objects, as opposed to the inorganic and impersonal nature of mass produced ware. Furthermore, each unique vessel is a manifestation of the endowed gift of creativity interconnecting Creator, artist, and consumer.

I remember being young and being told that birds had special pads on their feet which prevent them from getting electrocuted when they sit on electrical lines. I was told on a different occasion not to put my finger into electrical sockets, so, one day I tried a key. I do not have special pads on my hands. In middle school science class I explained the fascinating pad theory to my class only to find out that I was wrong, and if I aim to be so serious sometimes, perhaps I could at least be funny.

Where does the story begin and what are the different chapters? What forest is she traveling through and where does she store her baggage? Where are the doors that she needs to open and why must this path, follow her like a shadow? What does she shelter and what does she let sit out in the rain? What does she allow to fracture and will a wall be broken? Is she searching for something that can be found and did she leave enough breadcrumbs to find her way back?

I did not become a farmer or railroader like generations of my family before me–but I continue to rely on my hands and physical labor. The use of my hands as tools to construct through woodworking and metal fabrication techniques becomes a musing action. Using wood and metal as materials, I develop structures in an exploratory way to frame the endless process of making. When I lose myself in this progression of forms, I allow myself to breathe.

This Paper is about the intertwining and swiveling narratives that made up the conceptual building blocks of my work process during the production of the piece: Standoff. This is not a description of the physical tasks that were undertaken in the production process, nor is it a recipe for extracting the ingredients that form the intricate relationships within the sculpture, but rather it is a collection of stories that are told through a zigzagged structure in an attempt to mirror the distorted hierarchies between fantasy and fact, history and imagination, truth and speculation.

I will discuss six art works that have a range of characteristics, but can all be unified through the notion of surface, both physically and conceptually. I will investigate how ideas of taste, assumption, collage, façade, figure/ground, display and value can all be seen through this lens. Much significance and symbolism is imbued in such a thin layer and I am actively aware of this as I work. The way I construct and render my subjects and the space in which they reside determines how they are viewed, perceived, considered, and judged by others.

FOUR SEASONS By Morgan Pearse, MFA. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art in Sculpture + Extended Media at Virginia Commonwealth University. Virginia Commonwealth University, 2014. Major Director: Matt King, Assistant professor, Sculpture + Extended Media. Fantasy functions in a mental space. Cyberspace is a fantasy world. Cyberspace is a mental space mediated by the individual, but also through/into itself. What does an internal thought mean when it is directed towards strangers via online avatar? The Internet exists. Your body exists. There is something in between. There is no singular meaning or defined content. Instead, there are multiple meanings and content(s). “It all depends how you look at it.” Mystery is important, but it’s better to be entertaining at the same time. There is no narrative. I’m not a doctor. “This isn’t rocket science.” The body of this text is comprised of both found and original content.

Salvador Dalí was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. For the most part, Dalí is categorized as a Surrealist artist, yet in this essay, I also plan to explore other possibilities of influence that surrounded Salvador Dalí’s generation and inspirational background. Around 1941, Dalí’s work began to shift away from Surrealism and, instead, moved toward a more Classical style that contained many religious themes, a style which he called “Nuclear Mysticism” (Taylor 2008, 8). My interest in this subject stemmed from a visit to the High Museum of Art in Atlanta to see the exhibition “Dalí: The Late Work.” This exhibition contained highly regarded paintings such as Christ of Saint John of the Cross (1951), The Persistence of Memory (1931), and The Madonna of Port Lligat (first version, 1949). Seeing these paintings caused me to consider the possible situations, groups, and events occurring in 20th-century Spain and elsewhere that could have caused this transformation in Dalí’s art. In most of our minds, Dalí was an artist who painted amorphous figures and objects that would only exist within his dreams and unconscious state; yet, Dalí’s subject matter after the 1940s showed a remarkable consideration of figures and objects that are symbolic to the fundamentals of the Catholic tradition.